MYP Arts Sample Unit Plan PDF

MYP unit planner
Unit title Art Elements: The Ingredients in All Works of Art.

Teacher(s) Karin Coyne
Subject and grade level Visual Arts/ 6th grade
Time frame and duration 6 Weeks
Stage 1: Integrate significant concept, area of interaction and unit

question
Area of interaction focus Significant concept(s)

Which area of interaction will be our focus? What are the big ideas? What do we want our
Why have we chosen this? students to retain for years into the future?
Approaches to Learning The big ideas are:

Human Ingenuity The art elements are ingredients in
works of art that must be organized into
The student will plan and execute a
a cohesive artwork.
painting using the elements of art after
research and planning. The art-making process is more
important than the product, but if you
The student will create a non-objective
are willing to take risks and put in the
piece of artwork that utilizes the
time/effort, more often than not, the end
elements to communicate a
result will be successful.
mood/feeling/message.
MYP unit question
Is it important that artists be trained in art

techniques, rules, history, and terminology in
order for them to be successful?
What can be learned from looking at works of

art in terms of the basic ingredients, or art
elements?
Assessment
What task(s) will allow students the opportunity to respond to the unit question?
What will constitute acceptable evidence of understanding? How will students show what they have understood?
The student will be able to create a painting that applies the art elements.
Skills taught:
TSW research and reference artists whose work may be used as a source of inspiration.
TSW explore and practice using/organizing the elements of art to create art compositions.
TSW demonstrate understanding of the art elements by applying them in a final design product.
TSW participate in group discussion and write in response to aspects of the unit question.
TSW be evaluated based on final product as well as the process which will include the following materials
to be contained in his/her Art Elements DW (Developmental Workbook): sketches/brainstorming notes,
research notes on specific artists for reference, peer critique feedback forms, and (the end of project
reflections in which s/he must describe the process, any areas of difficulty, the strengths and weaknesses
of the piece, and reflections.)
Which specific MYP objectives will be addressed during this unit?
Application: TSW recognize and utilize the art elements. TSW demonstrate some influence by artists who
create non-objective art (such as Wassily Kandinsky).
Reflection/Evaluation: TSW criticize his/her own work and the work of his/her peers through a group
critique, peer critique, self-assessment rubrics, and the end of project reflection.
Which MYP assessment criteria will be used?
Criterion A: Knowledge and Understanding- Utilization of terminology in written entries in student’s

Developmental Workbook (DW).
Criterion B: Application- Application of knowledge and understanding acquired and key concepts in the
final production piece.
Criterion C: Reflection/Evaluation- Reflection demonstrated in the End of Project Reflection and Self-
Evaluation through rubric assessment of final production piece. (Peer assessments of the process for this
project in the form of Peer Evaluations.)
Stage 2: Backward planning: from the assessment to the learning

activities through inquiry
Content
What knowledge and/or skills (from the course overview) are going to be used to enable the student to respond to the unit
question?
What (if any) state, provincial, district, or local standards/skills are to be addressed? How can they be unpacked to develop the
significant concept(s) for stage 1?
The student will draw on previous experience and practice by taking his/her previous work with the
art elements and organizing the vocabulary and illustrative images in an articulate, cohesive
presentation.
PA Arts and Humanities State Standards

9.1.8.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles
to produce, review and revise original works in the arts.
Visual Arts: • paint • draw • craft • sculpt • print • design for environment, communication, multi-media
9.1.8.C Identify and use comprehensive
vocabulary within each of the arts
forms.
9.3.8.F Apply the process of criticism to
identify characteristics among works in
the arts.
9.3.8.A Know and use the critical process of
the examination of works in the arts
and humanities.
Compare and contrast
Analyze
Interpret
Form and test hypotheses
Evaluate/form judgments
Approaches to learning
How will this unit contribute to the overall development of subject-specific and general approaches to learning skills?
Students will work independently, then present the work to peer critics for feedback. The Approach to
Learning will be primarily visual. The process of planning, describing, and reflecting on one’s own work
reinforces for students how they learn best and provides a structured way for them to communicate their
understanding- in the form of self-assessments or end of project reflections. The student will use inquiry
skills in this process by researching artists/artworks, posing one’s own questions, and synthesizing and
applying previous knowledge and skills in order to hone them.
Learning experiences Teaching strategies

How will we use formative assessment to give students feedback
How will students know what is expected of them? Will during the unit?
they see examples, rubrics, templates?
What different teaching methodologies will we employ?
How will students acquire the knowledge and practice
the skills required? How will they practice applying How are we differentiating teaching and learning for all? How have
these? we made provision for those learning in a language other than their
mother tongue? How have we considered those with special
Do the students have enough prior knowledge? How will educational needs?
we know?
Students will be presented with specific Teacher feedback is provided of preliminary sketches
objectives to be achieved through this project and vocabulary development.
as well as a rubric for self and teacher
Cooperative learning groups with learners at a various
assessment/feedback.
levels of mastery are created at tables in order to
Students will observe a PowerPoint scaffold students that struggle with skills/tasks.
Presentation of the art elements with artwork for
reference that are made up of multiple art
elements.
Students’ prior knowledge will be determined
through questioning and teacher review of
preliminary sketches and project notes.
Resources
What resources are available to us?
How will our classroom environment, local environment and/or the community be used to facilitate students’ experiences during
the unit?
Resources for this project will include: LCD projector, Introducing Art textbooks, computer labs (for
research on artists/art historical components.
Ongoing reflections and evaluation
In keeping an ongoing record, consider the following questions. There are further
stimulus questions at the end of the “Planning for teaching and learning” section of
MYP: From principles into practice.
Students and teachers
What did we find compelling? Were our disciplinary knowledge/skills challenged in any way?
What inquiries arose during the learning? What, if any, extension activities arose?
How did we reflect—both on the unit and on our own learning?
Which attributes of the learner profile were encouraged through this unit? What opportunities were there for student-initiated
action?
Possible connections
How successful was the collaboration with other teachers within my subject group and from other subject groups?
What interdisciplinary understandings were or could be forged through collaboration with other subjects?
Assessment
Were students able to demonstrate their learning?
How did the assessment tasks allow students to demonstrate the learning objectives identified for this unit? How did I make
sure students were invited to achieve at all levels of the criteria descriptors?
Are we prepared for the next stage?
Data collection
How did we decide on the data to collect? Was it useful?
With respect to the IB Learner Profile, students were engaged in risk-taking during this design process.
Students were required to be reflective by journaling and reflecting/responding in the Developmental
Workbook (DW). Students were encouraged to be inquirers by taking the objectives of this project and
interpreting and working on them independently.
Students are evaluated according to a general rubric/checklist and an IB portfolio rubric. They have the
opportunity to receive feedback and provide commentary on their process (DW information) and product
(final project).
Figure 12
MYP unit planner
MYP unit planner
Unit title Express Yourself!
Teacher(s) Jennifer Dimas
Visual Arts ~ Year 2

Subject and grade level
Grade 7
Time frame and duration 20 hours over 10 weeks (2 hours per week)

question

-Health and Social Education -Art is used to convey individual

and cultural identity.
Why have we chosen this?
-Art forms develop in the contexts
I have chosen Health and Social (e.g., cultural, social, historical
Education as the A of I because and political) in which they were
students will examine the following made.
questions through their inquiries
and work: -Art can be used to convey
character traits and emotions.
How do the Arts communicate
emotion? How does Art impact
society? Individuals? Me? What
does Art have to say about life?
Joy? Suffering? How does Art
communicate the health of a
society/nation?
MYP unit question
How is art used to express individual and cultural identity?

Assessment
1) Students will create a narrative piece revealing their personal identity and
personal experiences.
2) Students will select a culture and create an original work of art that demonstrates
understanding of a historical, social or political issue of the culture.
3) They will then critique their own works, and the works of peers and other artists on
the basis of the formal, technical and expressive aspects in the works.
-develop an idea, a theme, or a personal interpretation to a point of realization and

communicating their artistic intentions.
-apply skills, techniques and processes to create, perform and/or present art.
-reflect critically on their artistic development and processes at different stages of

their work.
-evaluate their work.
-use feedback to inform their own artistic development and processes.

Criterion B: Application
Criterion C: Reflection and Evaluation

Content
question?
Drawing
Record
Students will acquire a repertoire of approaches to record visual images.
Investigate
Students will develop the ability to investigate visual relationships in the environment and in their
recorded images.
Communicate
Students will demonstrate technical competencies and express individual insights.
Articulate and Evaluate
Students will apply visual, analytical and critical skills and develop control and competency.
Compositions
Components
Students will develop competence with the components of image: media, techniques and design
elements.
Relationships
Students will analyze the relationships among components of images
Organizations
Students will express meaning through control of visual relationships
Encounters
Sources of Images
Students will investigate natural forms, man-made forms, cultural traditions and social activities as
sources of imagery through time and across cultures.
Transformations Through Time
Students will understand that the role and form of art differs through time and across cultures.
Organization ~ Students will be expected to:

-record the process of creation and should be able to explain the task in progress
-record terminology, date entries and insert guiding questions
-work on a regular basis, insert and/or record notes and insert hand-outs and resources in their DW.
Communication ~Students will be expected to:

-inform others—including presentation skills using a variety of media
-choose correct terminology and techniques
--investigate the use of art in the community, research the impact of art on the community and find out
how art is appreciated in different cultures.
Reflection ~ Students will be expected to:

-describe and analyze their work and the work of others
-understand the first steps of critique
-reflect critically on their own artistic development and processes at different stages of their work.

How will students acquire the knowledge and practise
the skills required? How will they practise applying How are we differentiating teaching and learning for all? How have
we know?
Lesson 1: (Teaching Strategy) Essential Agreements will

be created on the first day of class. Each pair of
Description students will be given one attribute from the
learner profile, and then they must create an
Students will create a narrative piece essential agreement that corresponds with that
showing their likes and dislikes. "Where's attribute. For example, for the group that gets
Waldo" (Where's Wally) serves as caring may decide to write the essential
inspiration. Students will look at narrative agreement for that attribute as: “We will critique
art - Hieronymus Bosch and others. each other’s work, and not them, in a kind,
Students will learn there can be different caring, and constructive way that ensures that
kinds of self portraits. our fellow student will be able to put into practise
the recommendations and ideas that we have
Objectives: brought forward.” Once all of the groups have
finished, they will be presented, posted and then
• To identify the cultural clues all of the students will sign the Essential
found within art forms. Agreements chart (which will have all of the
• To produce/explore works of art learner profile attributes on one side and the
based on their environment - essential agreement for that attribute on the
personal experiences. Create a other side) for that class. It needs to then be
work of art about self. placed in a permanent place in the classroom
• To recognize how technical and referred to as needed.
elements affect works of art - use
elements and principles of design Developmental Workbook (Formative
effectively Assessment): Students do all of their work,
and keep all of their work, in their Developmental
Frontloading: Workbook. This would include note-taking,
techniques and steps, research, recording of
1. Reflect on unit question. feelings, brainstorming, ideas, guiding questions,
2. Show examples of narrative art. reflections, journaling, preliminary work leading
Look for cultural clues in narrative up to projects, and even some projects. They
art by Heironymus Bosch. would also glue in or insert the course outline,
Present some images of Where's rubrics, handouts and inspirational pictures that
Waldo. Compare/contrast with they may find (or anything else that is used). It
work of Bosch. is basically a sketchbook with a hard cover so it
3. Tell students they will fill the lasts. The Developmental Workbook is never
composition with memories from graded as it is considered a tool not a task.
early childhood to present. (It It will, however, be used to assess Criterion B:
could be about anything and Application and Criterion C: Reflection and
everything they liked or disliked Evaluation. (Mother-Tongue Development)
from their earliest memories Students whose mother-tongue is not English
on....like having glasses or may use their mother-tongue ion their
braces, their pets, their games or Developmental Workbook.
special holidays or vacations that
had a lasting effect on their lives Students will label pages for each project and
or memories and to go from then do all of their work on those pages. For
there.) example:
4. Students will find/look at some
different kinds of self portraits Page 1: Ideas
(such as Van Gogh's chair and Page 2: Techniques
others) and share their findings Page 3: Feedback
with the group. Page 4: Final Work or Photo of Final Work
Procedures: (Teaching Strategy) Students will take apart or

unwrap their unit question and then develop a
1. Brainstorm events, happenings, fishbone organizer of various social stimuli as it
memories from early childhood relates to our unit question. Students will then
on. Make sketches on newsprint share with their group.
to represent the happenings,
events - likes and dislikes (Teaching Strategy) Students will be given their
2. List 20 things about themselves Summative Assessment Rubric and asked to
(can relate to family, events, likes work with a partner or with their group in regards
and dislikes) to what the expectations are for them to achieve
3. Choose sixteen. excellent achievement for the various criteria.
4. Fold 12" x 18" newsprint paper
into sections to create sixteen (Teaching Strategy/Formative Assessment)
areas. Popcorn and a Movie for learning strategy to
5. Illustrate all sixteen items. They help students brainstorm during the video.
may bring items in to work from
but cannot use magazines. (Mother-Tongue Development)-Reflection and
6. Cut out the individual drawings, critiquing of work may be done in a student’s
such as around an mother-tongue language (if that is more
apple....around the rose....etc. comfortable for the student) and then it will be
7. On a 9" x 12" piece of translated.
construction paper, take the cut-
outs and make a collage of the (Teaching Strategy) Carousel activity for group
drawings. Note: individual critique activities.
drawings could be photocopied
larger or smaller if needed.
8. Draw a grid on top of the collage
9. Enlarge on to 18" x 24" paper. Fill
in negative space with repeating
patterns/shapes to unify.
10. Complete in color using pastels or
watercolors.
11. Write a reflection on the finished
piece of work.
12. Class critique
Lesson 2
Objectives:
• To become familiar with the

collage methods of Romare
Bearden (as well as other collage
artists) and discuss the meaning
in their work
• To create a collage regarding a
social/political/historical issue.
Frontloading:
1. Students will reflect on the unit

question.
2. Students will watch a few very
short videos on techniques and
steps used to create collages;
one of the video clips focuses on
creating background and
foreground in collages.
3. Students discuss the life and art
of Romare Bearden, and look at a
variety of examples of his artwork
(especially photomontage work
from the 1960’s); his work with
the Spiral group during the Civil
Rights Era, and the political
content of his work, is to be
particularly emphasized.
Procedures:
1. Students will choose a Martin

Luther King, Jr./Nelson
Mandela/Mother Teresa/Pope
John Paul II, or any other human
rights advocate quote; they must
make sure they understand the
meaning of the quote (some are
more difficult than others!). They
then list at least 5 objects/images
that could represent the quote,
and decide what type of setting
the collage will have (i.e. city,
country, interior, etc.).
2. Students will create a thumbnail
sketch of the planned layout of
their collage.
3. Students will begin searching
through magazines and
newspapers to find their images.
They will usually need reminders
about cutting images around the
edge, eliminating the original
background, so they can become
part of a new context. Images
can be stored in envelopes until
needed.
4. Once they have a good amount of
images, students can start the
collage by creating the
background. Glue must be
applied right up to the edge of
images, to reduce “fly-away”
pieces. Students can turn the
cut-out upside down on scrap
paper, and use a small piece of
poster board or other thin
cardboard to "scrape" the glue all
the way to the edges. Once the
background is complete, they
should begin arranging and gluing
the images in the foreground.
Emphasize mixing of individual
images, especially figures/faces!
Remind students that if a
particular image cannot be found,
they can always make it from cut
plain paper.
5. When the collage is complete,
students should go through the
entire collage, and make sure all
edges are completely glued
down. A small paintbrush with
glue works well for this. Lift loose
edges and apply glue with small
brush.
6. When the collage is complete,
students will complete a written
reflection on their finished piece
of art.
7. A group critique can be held to
discuss craftsmanship, creation of
foreground/background, and the
how well each collage
represented the quote chosen.
Resources
the unit?
Resources:
• Hieronymus Bosch (Scholastic Art past issue on Narration: Hieronymus Bosch)

• Where's Waldo (Where's Wally) (Google image search will bring up examples) -
illustrator Martin Handford
• Star Wallowing Bull - Cultural Identity - "Black Elk's Little Sandman" - learning poster
from Plains Art Museum. Poster is free - just pay shipping charges. More work by
Star Wallowing Bull (Native American) can be found on line. Try a Google search.
• Romare Bearden background information and collages
• Online resources on collages
• Quotes from Martin Luther King Jr, Mother Teresa, Pope John Paul II, etc.
action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title Director’s Portfolio
Teacher(s) Rosanne Boutin
Subject and grade level Grade 8 Drama – Year 3

question

Health and Social Education Performance and production elements

Convey a message to an audience
MYP unit question
How can theatre investigate and communicate social

issues that inform, educate, reflect and challenge?
Assessment
Students investigated a theme and developed a message that would be communicated to an audience.
Articles, photographs, cartoons and quotes based on the theme of “power” were presented to students as
stimuli for the devising of their own physical theatre piece. Students were asked to show how the stimuli
could or would be used to devise a physical theatre performance from the perspective of the director and
present it as a performance concept.
Through the “Director’s portfolio”, students explored how the production and performance elements can be
used to communicate this performance concept.
To differentiate for Grade 8 students, students will develop a piece based on a theme found in poetry.
 develop an idea, theme or personal interpretation to a point of realization, expressing and

communicating their artistic intentions
 apply skills, techniques and processes to create, perform and/or present art.
 demonstrate curiosity, self‑motivation, initiative and a willingness to take informed risks
 support, encourage and work with their peers in a positive way
Criterion B— clearly explores how the performance and production elements of physical theatre interact to
convey the performance concept, showing application of the specified knowledge
clearly applies the production elements and the physical theatre conventions to convey a message and impact
on an audience
Criterion D—displays a level of personal engagement that includes risk-taking and a commitment to thoroughly
immersing herself in the processes of devising an original physical theatre-based performance.

Content
question?
Orientation
• Work cooperatively and productively with all members of the class in pairs, small groups and
large groups.
• Support positively the work of others.
• Offer and accept constructive criticism, given specific guidelines, with a desire to improve.
• Recognize that there is an historical and cultural aspect of drama/theatre.
• Demonstrate awareness of the multi-disciplinary nature of drama/theatre.
Theatre Studies
Theatre studies is the introductory exploration of teacher selected elements of drama and theatre that
foster an appreciation of theatre as an historical and cultural art form. Within this discipline, the
student will examine the following components: performance analysis, theatre history, the script.
Script
The student will be able to:
7. Define the elements of script, dialogue, directions, characters and settings.
8. Demonstrate understanding of directions used in a script.
9. Read a script aloud.
Theatre History
4. Recognize that drama exists in every culture.
5. Recognize that “theatre is a mirror of society”.
Technical Theatre
Technical theatre is the appropriate selection, construction, and manipulation of those staging
variables that visually and aurally support the performer and the needs of the production.
Students will demonstrate the concepts, skills and attitudes of the technical theatre discipline
through a different component at each level. Possible components of study include: lighting,
sound, makeup, costume, set, properties, puppetry, mask, visual media, and management
(stage/house/business).
Awareness
1. Recognize the basic terminology associated with the component being studied.
2. Demonstrate understanding of the basic functions of the component being studied.
3. Show awareness of the importance of research.
Readiness
6. Demonstrate understanding of the importance of planning and organization.
7. Select a project appropriate to the component being studied.
8. Demonstrate understanding of the use of colour, shape and texture to achieve a desired effect.
9. Use sketching to explore ideas for the project.
Collaboration: Students will be working in groups—including delegating and taking responsibility,

adapting to roles, resolving group conflicts, demonstrating teamwork accepting others—including
analysing
others’ ideas, respecting others’ points of view, using ideas critically personal challenges—including
respecting cultural differences, negotiating goals and limitations with peers and with teachers
Communication: Students are expected to inform others—including presentation skills using a variety
of media
Transfer: making connections—including using knowledge, understanding and skills across subjects
to create products or solutions, applying skills and knowledge in unfamiliar situations

we know?
Frontloading:
Students will be engaged in exploring the role of Popcorn and a movie assessment for learning strategy
the director through video and discussion. to help students brainstorm during the video.
The rest of the learning experiences will be
covered in three sections:
 stimuli for the potential they offer a
performance
Here students will participate in group
Students will develop a fishbone organizer of various
activities to explore social stimuli that are
social stimuli as it relates to our unit question. Students
applicable to their lives.
will then share with the whole group.
 the basic principles of physical
theatre (group awareness,
Students will explore the basic principles of physical theatre
kinesthetic response, and so through a multimedia presentation.
on)
Individual lessons will be geared towards
explored appropriate physical contact and how Students are given an example of a completed summative
to use physicality in an imaginative way. task. They are to reflect in their DW to begin their
exploration stage of creating their own PT piece.
PT Lesson 1: In pairs. One student is a frame
kneeling in the floor with hands down – the other
moves imaginatively round the frame in slow Open Discussion about the chair and how it becomes
motion by leaning on them or moving through the part of the character.
gap. The key is to use balance and control, you
need to concentrate to do this well.
1. Individually shape your body into a chair
frame. (What type of chair, sofa type,
hard school chair etc.)
2. Half class show to other half and swap
3. Pair - one is now a chair –Create a
character who is moving into the chair to
sit down, maybe to watch TV or do
homework. Exaggerate the mood of the
character. Ask students to keep the chair
as neutral as possible – not conveying
emotion so the focus is on the character
sitting in it.
4. Perform some – were we convinced by
any of the chairs?
PT Lesson 2: Recap last lesson and outline
objectives. Remember that physical action tells a
story. Questioning throughout the drama lesson to discuss
1. Individually, create a physical gestures.
representation of either a lion, bird,
Introduce the meanings of the words: motif, cannon and
spider, fish or one of your own choice
2. Develop the freeze by making part of the
voice.
animal move to suggest the animal.
Could be a clawing action or wings
flapping
3. Share some - where were the gestures
working the best and why?
4. Discuss what a motif is, in what other
lesson have they heard this term? You
have just created a motif for your animal.
5. Individually- Using a strong animal motif
all repeat the movement, then start to
extend this, you use the first movement
as the base and then add to it using your
whole body.
6. In small groups think about how your
motif can be developed as a group. You
may have a repetition across the group
(cannon) or have the gesture grow as
each animal moves. You can add voice
too.
7. Continue to develop this thinking of how
you can create an atmosphere.
8. In your groups now you need to make
one animal from all of your bodies, it
needs to be able to move together
9. Create a scene with the animal/insect at
the centre of it.
objectives - companies like Frantic assembly use
movement to tell the story and it is often symbolic, Use mix and freeze strategy so that students are not
not just a literal representation. always paired with the same students.
1. Pairs - mirror exercise (spontaneous),
place and movement needs to be slow
and controlled to be a convincing - think
about creating a mood, happy, sad
2. Now plan this exercise, use the planning
to do things you wouldn’t be able to do
like – (Opposition- mirroring but the other
side moves)
3. Perform them – evaluate effectiveness,
tone and atmosphere that has been
created. Are they telling the audience
about the relationship between these two
characters?
4. In different pairs both create the same
sequence; these can be in any order but
must include the following. They can
work side by side or move towards or
away from each other.
• a jump
• a turn
• travel
• balance
5. Perform some without music. Did it tell a
story, did you see a character?
6. Now perform to a piece of music – does
the style change, meaning change (make
sure students let the style and pace of
music effect the way they perform.) You
can change – facial expression, pace and
size. No voice.
7. Choose some of the best to show to the
whole class. Discuss - did it change the
way you felt about the scene, are you
beginning to see movement telling a
story?
 the nature, function and

interaction of the various
production elements that are
necessary to create a theatre
performance.

objectives - remember that physical theatre needs
to use movement and space imaginatively. Using pictures and images to explore social issues.
1) Do you know what a balance is?
Individually show a balance.
2) In pairs how can you combine s balance?
Using counter balance show three or four
balances that are connected to each
other using slow motion transition.
2) Look at image – what stories, themes
issues can you see?
3) In small groups you are going to express
either a theme or a story you think is
represented in the image. You can use
the work from last week and the balances
and lifts from today. You can use words
but you should rely on the movement to
tell most of the story or idea.
4) Share work and evaluate
PT Lesson 5: What have they learnt about
physical theatre so far – how would you recognise
it in a piece of work? Review basic principles of physical theatre.
1) Read through the poems available –
You’re going to create a piece of physical
theatre based n the poem. You can use
lines from the poem
2) They can choose from the poems. –
groups of 5 or 6 students start to
structure and create their piece.
3) Plan your ideas first - how will you use
the various elements you have learnt so
far.
4) Run through of your work – discuss any
necessary changes
Resources
the unit?
Physical Theatre basic principles video or powerpoint.

Have students ask their English Teacher to help them find some meaningful poems that express
Bring in local community actors to help facilitate movement during this unit.
action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title
Teacher(s) Diane Leganza (Mountain Ridge Middle School, Colorado)
Subject and grade level Art Level 1
Time frame and duration 2 weeks

question

Human Ingenuity: Art defines a culture

Where does art come from? Understanding the
people behind an art piece and their influence in
our own art
MYP unit question
How can color and pattern reflect a culture?
Assessment
After studying the Oaxacan culture, students were asked to create their own fantasy animals and develop a myth
for their creation. Students present their animal and read their myth during a formal classroom critique. The
myths and the creatures were on display in the school foyer for other students to view and read.
The art display in the school’s foyer may include:

The visual
An artist statement
The student’s original Oaxacan myth
Criterion A: Knowledge and Understanding

• demonstrate knowledge and understanding of the art form studied in relation to societal, cultural, historical
and personal contexts
• develop an idea, theme or personal interpretation to a point of realization, expressing and communicating
their artistic intentions
• reflect critically on their own artistic development and processes at different stages of their work


Content
question?
Knowledge and or Skills: understanding of the art form, understanding elements of the art form, elaborating on an idea, art
skills and techniques specific to the genre, how to reflect critically, evaluate others’ works
State Standards
C.D.E.Standard 1
Students recognize and use the visual arts as a form of communication.
C.D.E. Standard 4
Students relate the visual arts to various historical and cultural traditions
Students will understand the art form and its elements, learn to elaborate on their ideas, apply techniques and evaluate
others.
we know?
Examples and rubrics: Formative assessment:

Students will see examples of the final product and will Formative assessment through daily in-class evaluation and
hear famous original myths to help them gain an feedback. Feedback included: discussion of application of the
understanding of the writing portion of this project. elements of art and principles of design in their work, reading
They will also receive their rubric before they get examples of cohesive stories to help students include the
started. components (beginning, middle, end) in their own work.
Students are always encouraged to view and offer suggestions to
their peers during the creative process.
Skills Methodologies:
Students do preliminary sketches, view a United Teacher will share myths with students before they are asked to
Streaming video on Oaxacan artists and discuss color write their own.
and patterns used in the artists’ pieces.
Teacher will provide students with background information on
Oaxacan Art through books and hand-outs
Prior knowledge will be gauged with questioning Differentiation:

during class discussions as well as a KWL warm-up Using different learning styles, students create to their best
ability. Each student produces a unique, creative and original
piece of art.
Practicing the Skills: International Mindedness

Taking notes and creating preliminary sketches This unit provides an opportunity for students to expand their
followed by peer and teacher feedback should get knowledge of the art of world cultures and to participate in the
students on the right track. creation of an original piece of art with an accompanying creative
myth.
Resources
the unit?
Internet
United Streaming
Books
Hand-outs
action?
Assessment
Data collection
What we found compelling:

Students were engrossed with the Oaxacan artisans and their works. Many questions arose regarding the simplicity of the
Oaxacan culture, juxtaposed with the intricacy and sophistication of their artwork. Students came to realize a fairly poor,
often uneducated society is capable of creating significant art.
We are fortunate in the art studio to be able to provide an opportunity for all children to succeed. Differentiation is an
automatic occurrence for us.
Feedback was given to students throughout their creative process. Students were able to demonstrate their learning through
the creation of their own Oaxacan fantasy creature. The Design Cycle was utilized throughout the unit, allowing students to
be able to continually modify, adapt, and reflect upon the assignment.
Both the summative and formative assessment pieces enhanced the learning experience for the students.
Connections:
Students gained a deeper understanding of another culture and were able to produce beautiful works of art themselves.
Additionally they were able to utilize their own area of strength and learning style to succeed.
After the creation of the art, students extended their knowledge by composing a myth about their creature. During their
humanities classes and Language B, art from other cultures was also studied, so students could make links back to their
experience in their 2-D art class.
Art skills are based upon continued practice of new techniques and skills. The opportunity for students to expand their
knowledge between the art studio and the ceramic classroom always exists. The transdisciplinary connection occurs when
students create works of art and follow up with written responses and artist statements which allow students to reflect upon
their experience.
Data Collection:
Data collected was comprised of the project itself, the myth, and the artist statement that was written.
We photograph projects as exemplary work for future use. Artist statements are often read in class as examples of quality
work. Teachers select high and low samples to show students before they get started on their own.
ARTS Planner 3-1-2010 Coordinator: Shawn Reed Parsons

MYP unit planner
Unit title An Exploration of Impressionism
Teacher(s) Tammy Romanuk
Subject and grade level Art Year 2
Time frame and duration 16 classes 8 weeks

question

To draw from observation and know how

Human Ingenuity to create value, shading, and contrast
The student will learn to draw and to with graphite and paint.
paint from observations of natural To not only recognize that nature is
environments. ephemeral but to be able to capture the
essence of a natural landscape in a
The student will be encouraged to find moment of time.
a language that describes the natural To understand that with the choice of a
forms they paint and draw. specific palette, a mood can be denoted
to the painting.
MYP unit question
How can I capture the essence of a changing natural

environment?
Assessment
Students will ultimately create a painted landscape undergoing autumn’s transitions. Students are to think
about the inherent beauty of nature, It’s sequences and how we might possibly take better care to preserve
micro-environments in our neighbourhoods, so that we and other species can continue to prosper from
them.
Learning to Draw Trees: Looking at structures, how they branch, are rooted, textures, leaf arrangements.
A Review of Perspective: Modelling, Linear, Detail and Edges, Color and Value Change.
How to Lay in the Basic Sketch for Your Composition: Making a quick sketch.
Practice Drawing of a Landscape from Home: At least one tree and a few of it’s surroundings.
Outdoor-Sketching Trip: To practice drawing compositions with trees and other natural forms found in
nature. Students will also photograph a natural environment that they might use to compliment their
sketches for the painting.
Drawing a Landscape: Using the sketches and or photograph to make a black and white drawing
encompassing a pleasing composition that utilizes the elements and principles of design.
A Look at Impressionist Artists: The subject matter, immediacy of paint application, brushstroke, light
quality and the creation of form, colors used and a review of color theory.
Practice Painted Sketch: To create a painted sketch of the final painting focusing on color and
brushstroke.
Final Painting; Enlarging the sketch for the final painting.
Class Critique: Learning to discuss and understand our work and that of others. Relevant view points.
Formal Reflections of Learning
Application-
Students will learn that a passage of time can be conveyed with a painted image – That life is
ephemeral.
Students will draw from observation using sighting and measuring techniques to help with
proportion and placement.
Students will apply concepts of perspective and color theory to create depth.
Students will learn the process of applying graphite and paint to create value and contrast.
Students will use brushstroke in an identifiable manner that lends itself to the making of form.
Reflection and Evaluation-
Students will be able to engage in dialogue, oral and written to discuss intent, decisions made,
outcomes, etc.
Students will be able to show growth and development in their abilities to draw and to paint.
Students will be able to express mood with the style of brushstroke and colors used.
Criterion A: Knowledge and Understanding: Why impressionistic artists did not want to paint
traditionally with glazes and what the impact of impressionism had on future works of art.
Making the best decisions for completing a drawn or painted landscape. Understanding effective
composition.
Criterion B: Application: All sketches, practice work, and final compositions.
Criterion C: Reflection and Evaluation: Developmental workbook/formal reflection on unit.
Criterion D: Artistic Awareness and Personal Engagement: Willingness to be experimental and to
make conscious decisions that advance and or modify the work for purposeful reasons. Feedback
from classroom critiques.
Content
question?
Tasks:
Understanding good composition based on elements of composition and principles of design especially the
creation of space, value, contrast, and unity.
Drawing tips and techniques – sighting, basic shapes and proportion.
Landscape drawing and painting.
Understanding perspective and forms found in nature.
Values and textures found in nature.
Appropriate use of brushstroke and color.
Students know and apply visual arts materials, tool, techniques, and processes.
Students relate the visual arts to various historical and cultural traditions.
MELS REQUIREMENTS – VISUAL ARTS

Competency 1 – Creates Personal Images 35%
Competency 2 - Creates Visual Images 35%
Competency 3 – Appreciates Art 30%
Communication - use art as a means to communicate time place and mood.

- Students will practice using a variety of techniques with drawing and painting.
- Students will enhance their knowledge of using graphite and paint by using them
in a new way to create value and form.
Organization – students will practice using a variety of techniques with drawing.
Reflection – Students will reflect on their final project to evaluate learning and effectiveness of the
given image in terms of the elements of composition and the principles of design as well as the mood
created.
Thinking – How can I use the techniques learned in future art works
we know?
It will be assumed that students will be General verbal feedback will be given during studio time
entering the class with little prior knowledge. as instructor passes through class.
Therefore all the necessary information will Specific written feedback will be given as students turn
be presented and practiced throughout the work in to be assessed
course unit.
Students will see a finished example and will observe a
Students will be provided with handouts and demonstration of the technique.
visual examples of natural forms like trees
and plants. They will also see examples of Differentiated instruction is provided by the variety of
artists’ work and be given time to discuss presentation methods visual (finished examples and
content and to ask questions. demonstration) and written (step-by-step instructions
including pictorial examples). Further modifications can
Students will be given time to create a variety be made by providing works to copy to allow students to
of sketches exemplifying form, texture, value, focus on and master technique initially rather than worry
perspective, color, and brushstroke. about composition. Once technique is mastered,
students can move on to the challenge of original
composition.
Resources
the unit?
The internet and library

Teacher supplied examples and support materials for learning techniques
Class critique and discussions to generate ideas and understandings
Include Individual Lessons/ Activities (not required)
action?
Assessment
Data collection
MYP unit planner

MYP unit planner
Unit title Gargoyles, Grotesques and Medieval Text
Teacher(s) T. Romanuk
Time frame and duration 6 weeks, 12 classes

question

HUMAN INGENUITY Understanding that art is a critical tool for

communication.
Students will learn why grotesques and
gargoyles were important for medieval Apply skills as artists to create a strong
architecture. visual image.
Students will learn about the variety of To create an image that is reminiscent of
styles popular with this form of a past era, but which still has
architectural detail and come to relevance to today.
understand that it is found on more
Knowledge of art and media techniques
modern buildings and remains an art form
and process for creating the art form.
today.
Students will learn that by understanding
the constructs of drawing a head and
modelling it that they can transform reality
into either a grotesque or gargoyle of a
highly imaginative nature.
Students will learn about medieval
lettering and text and use what they know
about it to compliment the rendering of
their grotesque or gargoyle.
MYP unit question
How can I use what I know about medieval art to create

a work that teaches me about 3 – dimensional form and
can also send a feeling and or message to the viewer.
Assessment
Students will first use a drawn self-portrait and transform it to become either the face of a grotesque or a
gargoyle.
Students will illustrate a phrase, quote, or word of significance to them using graphite in the style of the
artists from the early centuries. They will research calligraphy and manuscripts. They will create their own
word, phrase, or quote of personal significance to relate their gargoyle or grotesque and understand that
text can be used as art.
The word, phrase or quote will begin with a Uncial Letter like that of Illuminated Manuscripts and be highly
ornate with patterns and imagery.
Day 1 – 3
Watch video on Gargoyles and Grotesques and practice drawing some gargoyles and or grotesques
inspired from watching the film and using the library for images in books or from computer found images.
Sketching ones face from either a mirror or photograph. Practice transforming one’s face into a gargoyle or
grotesque.
Day 4 - 5
Distribute examples of illuminated manuscripts, calligraphy, illustrations, and architectural details. Discuss
the influence of society on the art forms. Who created the art? For whom was the art created? How did
this change over time? How do artists illustrate words and phrases? Will the first letter of it be highly
decorative with images and patterns? Were will the word, quote or phrase be inserted around the gargoyle
or grotesque? Create sketches of various placement of text with image.
Day 6
Using various line qualities, very lightly draw in all your imagery on final copy.
Day 7 – 10
With your good copy lightly drawn in, begin to make any corrections. Add the patterning to your text as well
as the imagery you will use surrounding it. Use the value scale to model the forms and to create detail.
Assignment: create a thumbnail sketch (5x7) of interesting design of lines and shapes that intersect and
overlap and support the mood or feeling created by phrase, quote or word.
Homework: In your developmental workbook, discuss what imagery and patterning you used for the text.
Consider how it relates to your creature. In other words, what is your message? Do you feel you made
that clear or perhaps it is ambiguous? Explain.
Day 11
Present and critique work.
Knowledge and Understanding-

Students will be able to understand why societies made architectural ornaments such as gargoyles
and grotesques and added them to buildings. Students will also be able to understand why societies
made decorated text and manuscripts. They will come to understand the impact of these arts on
society and culture.
Application-
Students will develop and create their illustration based on examples seen from historical writings and
architectural ornamentation.
Students will apply the techniques learned in practice activities to their design concept to create a
personal work of art
Personal Engagement-
Students will use their own faces as a starting ground to alter into a gargoyle or grotesque.
Students will choose their own word, phrase, or quote of personal significance. They will be internally
motivated to illustrate this word, phrase, or quote because they choose something meaningful to
them.
Students can provide feedback to peers and brainstorm ideas in a helpful way in group work
Knowledge and Understanding: Criterion A- Sketches that transform ideas.

Application: Criterion B- Black and white modelled gargoyle or grotesque with letter and text imaged,
patterned, and modelled.
Reflection and Evaluation: Criterion C- Developmental workbook/formal reflection.
Artistic Awareness and Personal Engagement: Criterion D- Being able to take part in all class
critiques and willingness to experiment and make effective decisions.

Content
question?
Tasks:
Understanding the head and face and how it can be distorted.
Drawing of the gargoyle or grotesque using modeling – 3-D effect.
Drawing of uncial letter with text that is decorative. Embellishment, patterns, and images.
Students know and apply elements of art, principles of design, and sensory and expressive features of
visual arts.
Students must use a variety of elements and principles to create successful composition.
Elements: line, value, texture
Principles: Rhythm, movement, pattern, emphasis.
Students know and apply visual arts materials, tools, techniques, and processes.
Students must employ taught techniques and use tools to create composition.
Students will be learning an completely new media and new methods of creating value.
Students relate the visual arts to various historical and cultural traditions.
Unit emphasizes the historical use of pen and ink in a variety of global cultures throughout history.
ME L S R E QUIR E ME NT S – VIS UAL AR T S
C OMP E T E NC Y 1 – C reates P ers onal Images 35%

C OMP E T E NC Y 2 – C reates V is ual Images 35%
C OMP E T E NC Y 3 – Apprec iates Art 30%
Communication-art as a means of communication.

Information Literacy-researching manuscripts and calligraphy.
Reflection-finding a quote or phrase of personal importance.
Thinking-how will student use the given media, their skills and knowledge to communicate a visual
message.
Organization-Students will practice using a variety of techniques with drawing.

the skills required? How will they practise applying How are we differentiating teaching and learning for all? How
these? have we made provision for those learning in a language other
than their mother tongue? How have we considered those with
Do the students have enough prior knowledge? How will special educational needs?
we know?
Students will be provided with visual General verbal feedback will be given during studio
examples of manuscripts and artwork created time as instructor passes through class.
in Pen and ink. Specific written feedback will be given as students turn
Students will understand appropriate work in to be assessed.
modelling to create sculptural form. Students will see a finished example and will observe a
Students will understand the variety of line, demonstration of the technique.
texture, and patterning. Differentiated instruction is provided by the variety of
Students will learn to create a variety of line, presentation methods visual (finished examples and
demonstration) and written (step-by-step instructions
texture and value using pen and ink
including pictorial examples). Further modifications can
Students will apply that knowledge to their be made by providing works to copy to allow students
specific project. to focus on and master technique initially rather than
worry about composition. Once technique is mastered,
students can move on to the challenge of original
composition.
Resources
How will our classroom environment, local environment and/or the community be used to facilitate students’ experiences
during the unit?
The internet and library will be a valuable resource in our research of gargoyles, grotesques,
manuscripts, and calligraphy. Students will be asked to extend the lesson beyond the classroom by
continuing their research at home. For example, looking at old fairy tale books, and episodes of
movies or cartoons with gargoyles and by studying the 3 dimensionality of the form of their faces.

action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title Comedy
Teacher(s) Natalie Small
Subject and grade level Performing Arts – Year 4
Time frame and duration 6-8 weeks

question

• Comedy is a complex literary and

theatrical form.
Health and Social • Comedy movements reflect
Education historical and social changes.
• Laughter serves a necessary
physiological adaptive function.
• Comedy is the intellectual
response to experience while
tragedy is the emotional
reaction.
MYP unit question
What makes humans laugh?
Assessment
• Reading “How to Write Comedy” – reference resource package

• Film – Best of SNL Will Farrell – analysis/discussion of comedy theories & technique
• Series of 3 Improv: Incongruity, Establishment of Sup., Repetition – groups
• Rehearsed Improv: Incorporating the 3 Theories – (summative) Group to be filmed
• Expository Essay – Thoughtful Laughter – Criterion A Knowledge & Understanding
• Writing Comedy Shorts – partners write original comedy
• Formal Reflections of Performance and Script: Criterion C
• Experience and develop curiosity, interest and enjoyment in their own creativity and that of
others.
• Explore through the process of performing arts.
• Acquire and develop skills needed for the creation of performing art work.
• Use the language, concepts and principles of performing arts.
• Communicate their thoughts and ideas through performing arts.
• Create performing art work.
• Develop receptiveness to performing art forms across time, place and cultures, and perceive
the significance of these art forms as an integral part of life.
Criterion A: Knowledge and Understanding ( Expository Essay “Thoughtful Laughter”)

Criterion B: Application (Rehearsed Improv/3 Theories & Original Comedy Short)
Criterion C: Reflection & Evaluation (Developmental Workbook/formal reflection on Unit of Comedy)
Criterion D: Artistic Awareness & Personal Engagement (at the teacher’s discretion at the end of the
unit)

Content
question?
Exploration of techniques used in Improvisation, learning how to develop and sustain a character
through the use of back grounding, extend and deepen levels of concentration, employing a range
of gestures and facial expressions and work on greater use of the voice and audibility as well as
practicing clear articulation and correct pronunciation as well as interpreting characters from the
written text. Students will explore the role of the actor, director and playwright. Through all of this
the student develops a unique view of the actor. Intercultural awareness is also developed as
students learn how different social movements, concerns of the day and individuals have
influenced the arts (including drama, film, music and popular media)
MELS REQUIREMENTS – PERFORMING ARTS
Competency 1 – Creates Dramatic Works 35%
Competency 2 – Performs Dramatic Works 35%

Competency 3 – Appreciates Dramatic Works 30%
 Organizational skills and attitudes towards work: Meeting deadlines, quality work which
reflects time invested, organized Developmental Workbook, goal setting, group and
individual responsibilities stressed when working with a team, establishment of a schedule,
the importance of team work in pursuit of a common goal.
 Collaborative Skills: Respect for others points of view, respect for individual expression,
group work, team work (set building, sound mixing, rehearsal process) .
 Communication: Appropriate use of vocabulary, emphasis on non-verbal communication
 Information Literacy: Use of media, school resources
 Reflection: Developmental workbook, self and peer monitoring and evaluation, appreciation of
personal work and work of others,.
 Subject Specific thinking skills: understand, interpret and evaluate a range of historical
sources and media .
 Understanding fundamental concepts of theatre: Artistic and historical appreciation, lighting,

sound environment to create atmosphere.

we know?
 Students will be given task-specific • Formative assessment will be ongoing in the

handouts on all major pieces of form of skits, improvisation, acting
work and generally formative exercises. Students will be taught the
assessments will be explained orally principles of method acting and then will
in class by the teacher so that incorporate these principles in their daily
students have the opportunity to ask tasks to be given by the teacher.
questions. All rehearsal time will be
given during the 73 minute sessions • Independent reading of texts, and articles and
so that students may have immediate theory, discussion, lecture, tests and
feedback to their questions and help quizzes, note-taking, group and independent
with their ideas. Task specific rubrics work, rehearsal (independent and guided),
will be given to the students with the investigation of performance spaces,
major tasks. special effects, costume and lighting.
• Students will receive handouts on
Comedy, will review the comedy • Primary learning will take place as students
techniques in the SNL – Will Farrell view and critique the work of their peers and
DVD to reinforce the theories. learn to appreciate their own work and the
Students will engage in various work of others daily and in their
improvisations and exercises to developmental workbooks.
familiarize themselves with the major
concepts, terminology and techniques • Enrichment activities such as select comedy
of improv. performances by actors.
• By the end of the acting workshops,
• Acting workshops, small and large group
students should have a general
knowledge of the techniques and how activities and research
to apply those learned techniques in
their final drama performance and all
performances subsequent
performances.
Resources
the unit?
 A positive artistic classroom environment, actor’s workshop studio style will be

implemented where feedback, constructive criticism and appreciation of each other’s
work must be established. Open dialogue between teacher/student and
student/student must be established from the onset of the project. The primary aim is
to disassemble “cliques” and to have everyone working together as a supportive team
and IBO family.
• Internet, textbooks, scripts, and films will be used as resources for this
unit.
action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title OPTIMAL COMPOSITION WITH FOCUS ON FORM
Teacher(s) T.Romanuk
Time frame and duration 4 weeks 7/8 Classes

question

Why have we chosen this? students to retain for years into the future with?
Human Ingenuity -Students will learn that Understanding that good composition is
significant compositions of art can be a critical for a pleasing art work – One
made from the use of simple materials the viewer is compelled to look at.
while focusing on placement and
Apply skills with color knowledge that will
magnification and an expression through
create a strong visual image.
color.
MYP unit question
How will I be inspired to make a singular object, like a

leaf, a bold dramatic statement?
Assessment
Students will create an image of significance – simple yet a bold statement. One that transcends what the
actual object looks like. To do this they will study Georgia O’Keefe to understand simplicity of composition,
enlarging of an object to arrive at understanding the integrity of the object while focusing on the structures
that give purpose and drama along with the use of color to heighten all.
Day 1
Introduce composition as dramatic as seen with the art of Georgia O’Keefe. Look at video and prints.
Discuss color and its ability to give meaning,- Either emotional, symbolic, psychological, etc.
Emphasize background space.
Begin to practice compositional layouts and color selections while considering the background space.
Day 2
Practice and finalize compositional layouts and selection of color.
Day 3
Enlarge finalized compositions after reiterating drawing out the essentials of the object to establish drama
and meaning for the object/leaf.
Day 4/7
Putting it all together.
Day8
Present and critique work.
Knowledge and Understanding-

Students will be able to understand that simplicity of composition, positive and negative space can
vitalize the meaning of the subject matter. They will also understand that the use of color has strong
associative affect and effect.
Application-
Students will develop and create their art work based on examples seen from the body of work by
Georgia O’Keefe.
Students will apply the techniques learned in practice activities to their design concept to create a
personal work of art.
Personal Engagement-
Students will experiment with color and the way it is applied in order to heighten meaning of the
object. Deliberate choice must be proven.
Students are encouraged to provide feedback to peers by having mini critic sessions.
Knowledge and Understanding: Criterion A: How well the student experiments with their
compositions.
Application: Criterion B: Has the student succeeded in finding an optimal composition that is
pleasing and meaningful.
Reflection and Evaluation: Criterion C: Informal discussions of their work with teacher and peers.
Developmental workbook critic of the work.
Artistic Awareness and Personal Engagement: Criterion D: Willingness to accept criticism in a way
that they use it to make modifications to their work or make decisions based on what they have
learned. Formal class critique.

Content
question?
Tasks:
Understanding that subject matter does not have to be complicated.
Understanding form and how one might simplify it to pronounce the beauty of form.
Practice the elements of composition such as, line quality, value, space, color, and texture as well as the
principles of design such as, balance, unity, and focal area to maximize the effect of a beautiful
composition.
To understand negative space and how it should be deemed as important as positive space for
complimenting the whole of the whole.
To be able to appreciate the compositions of others.
ME L S R E QUIR E ME NT S – VIS UAL AR T S
C ompetenc y 1 - C reates P ers onal Images 35%

C ompetenc y 2 – C reates vis ual Images 35%
C ompetenc y 3 – Apprec iates Art 30%
Communication- Art as a means of visual ease and beauty.

Information Literacy- Learning from the masters.
Reflection-Choosing color that is thought provoking and meaningful.
Thinking-How will student use the given media, their skills and knowledge to communicate a pleasing
composition – One that is not only balanced but beautiful in form, texture and color.
Learner Profile
Which characteristics of the learner profile will be emphasized? How will you make students aware of them?
Thinkers-
Students will ask themselves the following:
What forms do I wish to enhance/emphasizes?
What meaning and or feeling do I wish to imbue my subject matter with?
Why is it important to create this way? Understanding motives.
Communicators-
How can I create visual message/meaning through art?
How can I critic the art work of others as well as my own?
International Mindedness
How will international-mindedness be addressed?
By looking at the work of some well known artist from around the world.

we know?
Students will be provided with visual General verbal feedback will be given during studio time
examples of compositions made with one as instructor passes through class.
object. Specific written feedback will be given as students turn
Students will hear from Georgia O’Keefe how work in to be assessed.
she viewed the creation of a composition. Students will see finished examples and will observe
What was meaningful for her. some demonstrations with technique.
Students will know what criteria are being Students will also be provided with visual descriptions of
assessed. various techniques used.
Students will understand that color has a Students will be given the opportunity to discuss their
varied effect by making repeated intentions and their work every studio period so that they
compositions with different colors prior to can better complete it accordingly.
beginning the final project.
Resources
the unit?
Video and library books with an opportunity to use the internet will be a valuable resource in our
research of composition and making of form.
Teacher supplied examples and support materials for learning techniques.
Class critique and discussions to generate ideas and understanding.
action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title Prehistoric Art and a Link to Today
Teacher(s) T.Romanuk
Subject and grade level Visual Art, Year 1
Time frame and duration 3 weeks, 6 classes

question

HUMAN INGENUITY Students will learn that:

Students will learn that: Good composition hinges on
consideration of all space within
Even prehistoric man needed to
an art work.
express himself and that his art
work was didactic. The student An art work often uses a
can therefore tell a story with their combination or form and line to
work. define shape.
Symbolism can pronounce the Prehistoric art was very
visual story telling. sophisticated in the way it drew
out the essentials without
complete dedication to reality.
The difference between contoured
and silhouette shapes
MYP unit question
What story lies behind what I have drawn?
Assessment
Students will look at prehistoric art from caves such as Lascaux and learn what
prehistoric man was interested in revealing with his association with animals and
the hunt.
Students will take from what they learn about endangered species and create a
drawing that tells a story of why that animal is defeated in its environment.
Students will be encouraged to extract only what is necessary to describe the
endangered animal without focusing on details. In other words, to create a
sophisticated naturalistic creature that is easily understood without excessive
attention to detail and realism.
Students will practice laying in compositions that use size variation and overlapping
to create a pleasing art work that is balanced and denotes an understanding of
positive and negative space.
Students will practice drawing their animal with contour lines and in silhouette form.
Students will enlarge the final sketch and be selective in using earth tone colors.
.
Knowledge and Understanding: Students will learn that: Prehistoric man gave a
vitalizing power to the creatures he drew by rendering only the most essential
features that defined them.
Good art works do not need to be filled with details and a high degree of realism
and that they themselves have the opportunity to work this way.
Application; Students will apply ideas of drawing in silhouette or with contour form
and will apply the concept of rendering only the essentials to show simple,
naturalistic creatures sophisticated in what is not drawn.
Reflection and Evaluation: Students should be able to discuss attempts at
simplifying form as well as to discuss their final outcomes.
Criterion B: Application: To break subject matter into a more stylized, naturalistic

and therefore simplistic composition.
Criterion C: Reflection and Evaluation: Group discussion and critique, film
questions, developmental work book, final reflection

Content
question?
Tasks:
Organizing composition that is balanced in terms of negative and positive space –
forms used and color.
Understanding how to select what is necessary to depict a creature without emphasis
on detail.
Understanding the importance of animals to prehistoric man and their continued
importance in our world.
MELS REQUIREMENTS – PERFORMING ARTS
Competency I – Creates Personal Images 35%
Competency 2 – Creates Media Images 35%
Competency 3 - Appreciates Art Works 30%
_______________________________________________________________________________________________________________________________________________________-
Approaches to Learning:
Organizational skills: Students will practice using a subtractive process. They will
also explore endangered animals and decide on one which suits their composition
best.
Communication skills: Students will use art to show how man and animal have
interacted, therefore, showing that art can be used as a communication vehicle of
events and a means to provoke.
Thinking Skills: Students will ask themselves the following: How best can I simplify
the creatures I have selected and still depict what it is? What symbols might I use in
my composition to enhance story telling.

the skills required? How will they practise applying How are we differentiating teaching and learning for all? How have we
these? made provision for those learning in a language other than their
we know?
It will be assumed that students have General verbal feedback will be given during
limited knowledge about prehistoric studio time as instructor passes through the
art and therefore the necessary class.
information will be provide to Specific written feedback will be given as
substantiate the practice. students turn work in to be assessed.
Students will receive a hand out Students will see finished examples and
which will be discussed as a group. It observe demonstrations of the technique.
will explain why prehistoric man
mostly drew animals, as well as the
stylistic nature of these creatures.
Students will be asked to answer
question relating to a film on
prehistoric drawings and to explore
ideas from books and the computer
lab and lastly to put into practice what
they have learned by producing a
series of sketches.
Resources
How will our classroom environment, local environment and/or the community be used to facilitate students’ experiences during the
unit?
The internet and the library will be a valuable resource in our research of prehistoric
art.
Teacher supplied examples and support materials for learning technique.
Class critique and discussions to generate ideas and understandings
action?
Assessment
Data collection
P2P pgs. 77-78

Figure 12
MYP unit planner
MYP unit planner
Unit Title Moods and Movements
Teacher(s) Amy Bennett and Jon Caldwell
Subject and Grade Level Music (Instrumental) and Language A—Year 5
Time frame and Duration 3 weeks

question, and ensure it can be assessed
Area of Interaction Focus Significant Concept(s)

Which AoI will be your focus? Why have you chosen What are the big ideas? What do I want my
this? students to retain for years into the future?
Human Ingenuity—Literature can be How music and literature can work together
interpreted in many ways to help students understand mood.
MYP Unit Question
How does mood play a role in both music and literature?
Assessment
Students will create a visual representation which makes connections between the music and literature to
be displayed at our school’s band concert
Paideia Seminar
Arts (Music):
A: Knowledge and understanding
B: Application
C: Reflection and evaluation
Language A:
A: Content
B: Organization

Art (Music):
Criteria A, B and C
Language A:
Criteria A and B

Content
What knowledge and/or skills (from my course overview) are going to be used to enable the student to respond to the guiding
question?
What (if any) state, provincial, district, or local standards/skills are to be addressed?
Art (Performing Arts):

• 2.01—Play with increased technical accuracy
• 2.02—Play increasingly difficult instrumental literature which contains moderate technical demands,
expanded ranges and varied interpretive requirements
• 2.03—Play instrumental literature representing diverse genres, styles and cultures
• 5.04—Notate and transpose simple melodies using standard notation
• 6.02—Demonstrate a basic knowledge of the technical vocabulary of music
• 6.03—Discuss a variety of compositional techniques
• 6.04—Explain various accompaniments
• 6.05—Demonstrate auditory perceptual skills by conducting, moving, answering questions about and
describing aural examples of music
• 7.01—Apply specific criteria for making informed, critical evaluations of music
• 7.03—Evaluate musical works by comparing, contrasting and summarizing them in relation to similar
or exemplary models
• 7.04—Apply rules of standard English in written evaluations of music
• 8.01—Apply standard rules of written English to explain the uses of characteristic elements, artistic
processes and organizational principles among the arts areas in different historical periods and
cultures
• 8.02—Identify and explain ways in which the concepts and skills of other content areas outside of the
arts are interrelated with those of music
• 8.04—Synthesize and apply information from other content areas to facilitate musical understanding
• 8.05—Demonstrate the character traits of responsibility, self-discipline and perseverance while
informally or formally participating in music
Language A:
• 1.01—Produce reminiscences (about a person, event, object, place, animal) that engage the
audience by:
o Using specific and sensory details with purpose
o Explaining the significance of the reminiscence from an objective perspective
o Moving effectively between past and present
o Recreating the mood felt by the author during the reminiscence
o 1.02—Respond reflectively (through small group discussions, class discussions, journal
entry, essay, letter, dialogue) to written and visual texts
• 1.03—Demonstrate the ability to read, listen to and view a variety of increasingly complex print and
non-print expressive texts appropriate to grade level and course literary focus
• 2.01—Demonstrate the ability to read, listen to and view a variety of increasingly complex print and
non-print informational texts appropriate to grade level and course literacy focus
• 2.03—Pose questions prompted by texts and research answers
• 3.03—Examine controversial issues
• 4.01—Interpret a real-world event
• 4.02—Analyze thematic connections among literary works
• 4.03—Analyze the ideas of others by identifying the ways in which writers
o Introduce and develop a main idea
o Choose and incorporate significant, supporting, relevant details
o Relate the structure/organization to the ideas
o Use effective word choice as a basis for coherence
o Achieve a sense of completeness and closure
• 5.01—Read and analyze selected works of world literature
• 6.01—Demonstrate an understanding of conventional written and spoken expression
Approaches to Learning
How will this unit contribute to the overall development of subject-specific and general AtL skills?
Reflection/Thinking—sharpen decision making skills through analytical and reflective writing

Collaboration/communication—shape communication skills through student-led collaborative groups
Transfer—write and respond to a variety of texts
Learning Experiences Teaching Strategies

How will students know what is expected of them? Will
they see examples, rubrics, templates, etc.? during the unit?
How will students acquire the knowledge and practise What different teaching methodologies will we employ?
the skills required? How will they practise applying How are we differentiating teaching and learning for all? Have we
these? considered those learning in a language other than their mother
Do the students have enough prior knowledge? tongue? Have we considered those with special educational
needs?
• Students will read and discuss the novel in • Differentiating the types of discussion to allow
pairs, small groups, through teacher- access to all students
led and through student-led Socratic
seminars. Differentiating the types of • Graphic organizers
discussions will allow access to all • Margin notes
students in the classroom.
• Reader response
• Discussions will lead to conversations
about stereotypes, prejudices and • Socratic seminars
misunderstood impressions about
others in different parts of the world.
• Students will become active readers using
reader response, margin notes and
graphic organizers to organize their
thoughts and textual support for their
creative response.
• In addition to the novel, students will be
exposed to several cultures through
supplemental reading short stories,
movie clips, music.
• As students listen to music, they will
complete the reader/listener response
graphic organizer provided to them by
the instructor. The organizer helps
students not only reflect on the sounds
they are hearing, but it also helps them
make connections to the literature.
This organizer will serve as a formative
assessment. The creative response to
the music and literature will be the
summative assessment.
Resources
the unit?
• Literature--Night by Elie Wiesel

• Music—Movement I, II and III composer Robert Rumbelow
• Active reading notes
• Online streaming clips
• Paideia seminar handouts
• Band room music and speakers
• Graphic organizers for mood reflections while listening to music
• Necessary supplies for creative visual representation
stimulus questions in the unit planning section of MYP: from principles into practice.
Students and Teachers
What did we find compelling? Was our disciplinary knowledge/skills challenged in any way?
How did we reflect – both on the unit and on our own learning?
Were there any attributes of the learner profile that were encouraged through this unit? Were there any opportunities for action?
Assessment
Did the assessment tasks allow students to demonstrate the learning objectives identified for this unit? Did I make sure
students were invited to achieve at all levels of the criteria descriptors?
Data collection
How did I decide on the data to collect? Was it useful?
• What made this unit compelling was the combination of good music and good literature. Night
as a book and as a piece of music is so powerful. The impact that it has made on the students
and the two audiences it was performed for speaks for itself. Night as a piece of music is non-
traditional in many ways, giving students an opportunity to make music away from their
instruments (i.e. singing, whistling, crystal glasses, etc.). Music is often a way of expressing
emotions too complex or uncomfortable for words and Robert Rumbelow found the perfect subject
matter in Wiesel’s Night.
• Students were interested in the piece of music because it is non-traditional. They asked about
more contemporary classical music and composers. This is almost unheard of in classical music
since most music that is considered great was written by composers who lived and died in the 19th
century. Students searched for these techniques and sounds and hopefully found great music in
the music of today.
• Students understand that they have to search for great music. There were thousands of
composers in the classical era, but all we remember are Mozart and Haydn. Mozart and Haydn
are out there today, we just have to sift through all the people who won’t be remembered in 200
years. This unit gave us an opportunity to discuss contemporary music (and contemporary topics
such as human rights) in a whole new way.
• This unit gave students a way to reflect on themselves as an artist and as a member of society.
What is my role as a musician and what responsibilities does that bring with it? The same
questions are true for a member of society. The musician’s life is a life of service (serve by
performing, serve the composer, serve one another) and it was an easy way to ask the student to
examine how they can serve the world in a non-musical way.
• The students want more contemporary music. They want music that is different and they want
music that is powerful. That in itself is a validation of this unit.
MYP unit planner
Unit title Storytelling: Visual and Verbal Imagery
Teacher(s) Jaymee Gaskins and Jim White
Subject and grade level 9-12/ Language A, Humanities, Digital Photography, and Visual Arts

question

Environments Every decision a person makes affects the

rest of his or her life as well as those
Interrelatedness exists between an
around them.
individual and his/her culture, society,
religion, community, and environment.
MYP unit question
How do my actions and their consequences affect my way

of life, and how are they visible to others?
Assessment
A Kite Runner essay including analysis of major themes in The Kite Runner and how their images reflect
these themes.
A final presentation including both the essay and images in which students must explain why the images
reflect the literature and vice versa.
Language A:
Content:
• Understand and analyse the language, content, structure, meaning, and significance of both familiar
and previously unseen oral, written, and visual texts
• Understand and apply Language A terminology in context
• Express an informed and independent response to literary and non-literary texts
Style and language mechanics:
• Use literature to narrate, describe, analyse, explain, argue, persuade, inform, entertain, and express
feelings
• Use correct spelling
Arts:
Knowledge & Understanding:
• Demonstrate knowledge and understanding of the art form studied in relation to societal, cultural,
historical and personal contexts
Application:
• Develop an idea, theme or personal interpretation to a point of realization, expressing and
Personal Engagement:
• Show commitment in using their own artistic processes
• Demonstrate curiosity, self-motivation, initiative and a willingness to take informed risks
• Support, encourage and work with their peers in a positive way
Language A: Criteria A, C
Arts: Criteria A, B, D

Content
question?
Collaboration, teacher-led direct instruction, literature circles, image research, information literacy,
critical thinking
Make connections to prior knowledge and experiences to understand the text
Express reflections and reactions to print and non-print text and personal experiences
Read and discuss literature and visual images
Communicate effectively in both small group and large group discussions
Improve reading, writing, speaking, and listening skills
Perform various tasks in literature circles such as discussion director, passage picker, image
finder, plot person, and connector
Examine human relationships in literature and visual images
Develop strategies for imagining and implementing images
Learn techniques and processes for working with each material
Understand there are various purposes for creating and analyzing works of visual art
Reflection and Organization through process journals

Thinking by using multiple intelligences by examining visual images and using intrapersonal, interpersonal,
linguistic, visual, kinaesthetic, and verbal means to display knowledge
Information Literacy is enhanced through discussion of sample images and practice with connecting them
with literature
Communication skills are shaped through student-led collaborative groups
Sharpen decision-making skills through analytical and reflective essay writing and presentation
Thinking, organization and communication by sharpening decision-making skills through analytical and
reflective essay writing and presentation

we know?
They will take notes on their literature circles Verbal feedback on a regular basis
expectations, and they will see previous
Direct instruction
examples of other literature circle notebooks.
Group interaction
They will receive a project description sheet and
rubric for their analytical and reflective essay Hands-on experience
and presentation.
Daily review
The students should have prior knowledge for
the discussion groups because they have done Differentiation occurs through multi-layered
several Paideia seminars at this point. They assessments through personal presentation style and
have also written several papers using the MYP flexible timeframes for project completion.
criteria. Through daily reading quizzes, my oral and written
The students will receive direct instruction from feedback in literature circles, and my written feedback
both the Language A teacher on major themes on their essays.
from The Kite Runner as well as from the Visual Literature circles, direct instruction, large-group Paideia
Arts teacher on how these themes are reflected seminars, individual research, reading in small groups
in visual images. and individually, modelling various reading and writing
The students will have researched Afghani strategies.
culture, religion, politics, and societies. Students are grouped in their literature circles carefully
The visual arts students will possess a working so that struggling students are being assisted by higher-
knowledge of storytelling through visual images. level students. When needed students are given extra
time and tutoring.
The digital photography students will view
examples of successful emotive images. Teacher-led presentations of major themes in The Kite
Runner and how these themes can be shown visually
The digital photography students will know how through the works of master photographers
to utilize cameras, lights, props, and digital
editing equipment.
The Language A students will know how to
analyze literature and find major themes
throughout a novel.
Journal writing on essential question
Using process journals to develop a list of
possible images to convey themes and
situations within The Kite Runner.
Resources
the unit?
The Kite Runner novels

Literature circle handouts
On-line streaming clips
Media Center Lab access: books, internet, newspapers, etc.
Paideia seminar handouts
Graphic organizers for written component
Various supplies for presentation boards and kites
Students will connect the various experiences of the characters in The Kite Runner to those in their own
lives and/or their community
Digital cameras with card readers, data projection for review of images, computers with image editing
software to refine images, web resources on camera editing and on cultural photographers
Smartboard
action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Investigating calories in food using ceramics as a tool for

Unit Title
science
Teacher(s) Benjamin Olin and John Davis
Subject and Grade Level Chemistry and Pottery—Year 5
Time frame and Duration 2 weeks for pottery, 1 week for chemistry

question, and ensure it can be assessed

Which AoI will be your focus? Why have you chosen What are the big ideas? What do I want my
this? students to retain for years into the future?
Human Ingenuity—Materials for one Applying knowledge of a material to other

discipline can have many uses, improving disciplines based on the specific needs of
other disciplines through ingenuity and that discipline.
changing the function of the material
MYP Unit Question
How can we use our knowledge and skills about

clay/ceramics and apply that to improving science?
Assessment
Students will produce and present a calorimeter to chemistry students, then use the calorimeter and
analyze its performance to improve upon the design.
Lab investigation determining calorie content of food with a written lab report.
Arts (Pottery):
B: Application--plan and organize effectively to define and set goals, solve problems, negotiate
and make decisions
C: Reflection and Evaluation------use group discussion and feedback to support and promote
creative development
Chemistry:
D: Scientific Inquiry------design scientific investigations that include variables and controls,
material/equipment needed, a method to be followed, data to be collected and suggestions for its
analysis.
Arts (Pottery):
Science (Chemistry):
Criterion D: Scientific Inquiry

Content
What knowledge and/or skills (from my course overview) are going to be used to enable the student to respond to the guiding
question?
What (if any) state, provincial, district, or local standards/skills are to be addressed?
Art (Pottery):
2.01—Explore unique properties and potential of materials.
7.01—Identify connections, similarities and differences between the visual arts and other disciplines.
7.02—Describe ways the art elements and design principles interrelate within all arts disciplines.
7.04—Recognize how current technology affects visual arts and other disciplines.
Science (Chemistry):
1.01—Design, conduct and analyze investigations to answer questions related to chemistry.
• Identify questions and suggest hypotheses
• Identify variables
• Use a control when appropriate
• Select and use appropriate measurement tools
• Collect and organize data in tables, charts and graphs
• Analyze and interpret data
• Explain observations
• Make inferences and predictions
• Explain the relationship between evidence and explanation
• Identify how scientists share findings
4.02—Analyze the law of conservation of energy, energy transformation and various forms of energy
involved in chemical and physical processes
• Differentiate between heat and temperature
• Analyze heating and cooling curves
• Calorimetry, heat of fusion and heat of vaporization calculations
• Endothermic and exothermic processes including interpretation of potential energy
• Diagrams (energy vs. reaction pathway), enthalpy and activation energy
Transfer—applying knowledge in all arenas of life

Reflection—willingness and desire to improve
Communication—working with others efficiently
Organizing and Thinking—planning and conducting scientific experiments; recording data and
observations

How will students know what is expected of them? Will
they see examples, rubrics, templates, etc.? during the unit?
How will students acquire the knowledge and practise What different teaching methodologies will we employ?
the skills required? How will they practise applying How are we differentiating teaching and learning for all? Have we
these? considered those learning in a language other than their mother
Do the students have enough prior knowledge? tongue? Have we considered those with special educational
needs?
• Students will solve problems through both • Discussion about the different uses for ceramics
guided and independent practices around the world (clay as a universal material)
• Students will perform activities and labs to • Comparison on how calories are determined
apply knowledge through hands on around the world and consistency
reinforcement
• Use lecture and discussion on concepts of heat,
• Students will have homework problems, phase change and calorimetry
lab reports and/or written reflections
• Monitored progress throughout design and
• Students will assess the needs for the construction to provide instant feedback
calorimeter to later reflect on the
success at fulfilling those needs.
Resources
the unit?
Data projectors, overhead projector, balances, beakers, stoppers, thermometers, graduated cylinders,
water, dry clay, clay tools, plaster, buckets, drill/mixer, cardboard, petroleum jelly, kiln, rulers, glaze
materials, coffee filters, mesh screens
stimulus questions in the unit planning section of MYP: from principles into practice.
Were there any attributes of the learner profile that were encouraged through this unit? Were there any opportunities for action?
Assessment
Did the assessment tasks allow students to demonstrate the learning objectives identified for this unit? Did I make sure
Data collection
MYP unit planner
Unit title Color Schemes
Teacher(s) Karin Coyne
Subject and grade level Visual Arts/ 9th grade

question

Approaches to Learning The big ideas are:

Human Ingenuity Art can communicate a multitude of
emotions to the viewer if it is carefully
The student will plan and execute a
composed by the artist.
painting utilizing peer critique and self-
reflection to improve and shape the work The art-making process is more
along the way. The student must be self- important than the product, but if you
directed in the research, planning, and are willing to take risks and put in the
execution of the project. time/effort, more often than not, the end
result will be successful.
MYP unit question
How does color inlfuence the mood/feel of a

work of art?
How does color communicate emotion?
What can be learned from looking at the lives

and works of a variety of artists that explore this
the comcept of color in very different ways?
Assessment
The student will be able to create a series of artworks (3) through independent research and
planning that communicate an emotion by utilizing color schemes.
Skills taught:
TSW research and reference artists whose artworks may be used as a source of inspiration.
TSW explore and practice creating value scales (greyscale/monochromatic value scale) and developing
color wheels that reflect the color schemes s/he have chosen to work with.
TSW participate in group discussion and write in response to aspects of the unit question (UQ- Unit
Question).
TSW be evaluated based on final product as well as the process which will include the following materials:
sketches/brainstorming notes, research notes on specific artists for reference, peer critique feedback
forms, and (the end of project reflections in which s/he must describe the process, any areas of difficulty,
the strengths and weaknesses of the piece, and reflections.)
Application: TSW know and apply color schemes to three final art pieces (such as monochromatic, triadic,
analogous, complementary, warm/cool colors).
TSW apply basic color theory in his/her paintings.
Reflection/Evaluation: TSW criticize his/her own work and the work of his/her peers through a group
critique, peer critique, self-assessment rubrics, and the end of project reflection essay.
Personal Engagement: TSW provide all background work such as planning, research, annotation,
sketches, preliminary designs, personal feedback/commentary on his/her progress contained within the
DW (Developmental Workbook).
Criterion C: Reflection/Evaluation
Criterion D: Personal Engagement

Content
question?
The student will draw on previous experience and further practice and refine his/her
skill/knowledge working with color schemes, specifically considering the effect a color scheme has
on the mood of the final piece. TSW develop his/her ability to work independently on a series of
artworks, by following through to completion on the planning, research, sketches, preliminary
designs, personal commentary/feedback, and final products.
TSW establish a color scheme and explore its effect on the piece in comparison/contrast to the other final
pieces.
TSW demonstrate an influence from one or more artists for reference.
TSW show evidence of the planning process in the form of two preliminary sketches, brainstorming notes,
peer critique feedback forms, and a final design.
TSW develop color wheel or value scale that correspond to his/her choice of color scheme.
PA Arts and Humanities State Standards

9.1.8.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles
to produce, review and revise original works in the arts.
Visual Arts: • paint • draw • craft • sculpt • print • design for environment, communication, multi-media
9.1.8.C Identify and use comprehensive
vocabulary within each of the arts
forms.
9.3.8.F Apply the process of criticism to
identify characteristics among works in
the arts.
9.3.8.A Know and use the critical process of
the examination of works in the arts
and humanities.
Compare and contrast
Analyze
Interpret
Form and test hypotheses
Evaluate/form judgments
9.4.8.D Describe to what purpose philosophical
ideas generated by artists can be
conveyed through works in the arts and
humanities.
The process of planning, describing, and reflecting on one’s own work reinforces for students how they
learn best and provides a structured way for them to communicate their understanding- in the form of self-
assessments or end of project reflections. The student will use inquiry skills in this process by researching
artists/artworks, posing one’s own questions, and synthesizing and applying previous knowledge and skills
in order to hone them.

How will students acquire the knowledge and practice
the skills required? How will they practice applying How are we differentiating teaching and learning for all? How have
we know?
Students will be presented with specific The teacher will introduce the Color Scheme Unit by
objectives to be achieved through this project presenting an overview of color schemes with examples
as well as a rubric for self and teacher of how they were applied in works of art in the form of a
assessment/feedback. PowerPoint Presentation.
Students will observe color-mixing Teacher feedback is provided for preliminary sketches
demonstrations and view teacher and student- and value scales.
made sample solutions to the problem.
Cooperative learning groups with learners at a various
Students’ prior knowledge will be determined levels of mastery are created at tables in order to
through questioning and teacher review of scaffold students that struggle with skills/tasks.
preliminary sketches and project notes.
Resources
the unit?
Resources for this project will include: LCD projector, image packets (prepared by the teacher), mirrors (for
observation), computer labs (for research on artists/art historical components, teacher demonstrations (of
paint mixing/application).
action?
Assessment
Data collection
With respect to the IB Learner Profile, students were engaged in risk-taking during this portrait process.
Students were required to be reflective by journaling and reflecting/responding in the Developmental
Workbook (DW). Students were encouraged to be inquirers by taking the objectives of this project and
interpreting and working on them independently.
The interdisciplinary connections would depend on individual student inquiry, but could include the
following:
Research and report on a specific period in history/art history. For instance, Picasso’s Blue Period as a
reflection of the way in which artists use color to communicate emotion and the way this application reflect
mood throughout a series or timeline of personal art-making history.
Students are evaluated according to a general rubric/checklist and an IB portfolio rubric. They have the
opportunity to receive feedback and provide commentary on their process and product in the form of peer
critiques and teacher feedback in his/her Developmental Workbooks.
Figure 12
MYP unit planner
Middle Years Programme
Unit Title: Waka and Pounamu
Unit Plan
Unit Plan Overview
Curriculum Area : DANCE Teachers : M Turner Year Level : 9 Term / Duration: 6 weeks, 21
lessons
NZ Curriculum Level: 4
Stage One: Integrating significant content, the Areas of Interaction, and assessment
within a Guiding Question
Area of Interaction Significant Curriculum Content
HUMAN INGENUITY CHOREOGRAPHIC TECHNIQUES –
Elements of Dance, Choreographic Devices
MYP Unit How can we create an imaginative, innovative and original dance trio?
Question(s)
or Central Idea
Students will be able to:
● apply the elements of dance, in particular body awareness, space and relationships, to create imaginative, unusual, innovative and original
MYP Learning shapes and movements
Objectives ● apply the choreographic devices of contrast and non-unison to develop and deepen dance ideas
Which specific MYP ● experiment and explore through structured and spontaneous activities
objectives will be
addressed in this ● understand the steps in the creative process
unit? ● take responsibility for the creative process of exploring, recording and selecting movement ideas, planning, realising and evaluating a
What will constitute sequence of dance
acceptable evidence ● solve problems, co-operate, negotiate and make decisions with a partner
of understanding?
● present their dance work in an informal context
MYP Intercultural Awareness Communication Holistic Learning ~

Fundamental Using objects and concepts -Reflecting on own actions connections to other MYP
Concepts from Maori culture as a - Evaluating effectiveness of decisions and strategies subjects
How will learning in stimulus for dance-making -Confidence and skills to communicate and present own ideas through the medium
this unit transfer into of movement Te Reo Maori
opportunities for
Health - Relationships with
Others
student action?
Attach a copy of any

assessment guidelines Assessment ~ which MYP assessment criteria will be used?
for students or rubrics
This unit will be
assessed for the Criteria A Criteria B ● Criteria C ● Criteria D Criteria E Criteria F
following criteria
Evaluation and
Criteria titles Application
Reflection
Describe key Summative Assessment(s)
assessment task(s)
which allow students
- Choreographing and presenting a trio
the opportunity to - Submit developmental workbook in which students record and reflect on creative ideas and decisions. This includes journal reflections based on
answer the Guiding participation in choreographic workshops, and the MYP Reflection Sheet completed at the end of the unit.
Question.
Stage 2: Backward Planning ~learning activities should be driven by Stage 1

Engaging Students with the Guiding Question
Prior Learning
What are the - Activate prior learning and knowledge from previous “Shape Up/Sport Dance” unit through discussing tools students have for creating unusual
students entry
points?
shapes and making movements more interesting.
What diagnostic - Students record their ideas on a fish-bone diagram (tool on each branch, specific example on the leaves)
tools will I use?
Formative – Students have completed a formative choreography assessment in previous unit in which they received written feedback on group
assessment choreography. This current unit builds and extends on that work.
How will I give
students feedback ? – Student reflection is incorporated in the students' reflection journals.
What opportunities – Verbal teacher feedback throughout creative process.
are there for – Ongoing student verbal reflection throughout the unit with class members and teacher.
Student Self
- Video recording and viewing for student reflection, evaluation and forward planning.
Reflection
Exemplars – Use Sophie Journee's and Jignal Patel's 2008 Year 11 choreographies (possibly also Eloise Twaddle's) as exemplars
to show students so
they understand
– Madeleine Lister in Wooloomooloo Cuddle as an example of experimentation in a solo. Also can be used for initiating discussion on direction
what is required? and facing to maximise interest of the dance.
Teaching and Learning Strategies
Approaches to Collaboration
Learning Group Skills, Team Work, Caring, Negotiating
How will I teach?
Which KATL strands/
Thinking
Creative Thinking, Problem Solving, Decision Making, Critical Thinking, Thinking Strategies
focus /skills?
Reflection
Process Journals, Peer and Self-Assessment, Metacognition
Risk-Taker – creative risk-taking by trying new activities, new ideas, shapes and movements; thinking outside the square; showing courage to
explore unfamiliar ideas and movements.
Open-minded – learn from new experiences and consider new ideas through choreographic workshops.
Reflective – reflecting on choreographic decisions and actions, looking critically at choreographic product and thinking about how to improve it.
Learner Profile
Which Learner Profiles
This unit focuses particularly on the Learner Profiles above. However, the nature of the subject and the unit is such that students will be applying
will be emphasised
and how? skills from the additional Learner Profiles of Inquiry, Thinking, Caring and Communication.
Use the Learner Profiles worksheet and learner profile in dance descriptor grid. Students match descriptors on the grid to the Learner Profile they
think best fit. Cut and paste on.
Differentiation Reflection journal offers individual choices in extent of challenge and depth in written communication, option of making greater use of diagrams.
Strategies GATE extension activities are highlighted throughout the unit.
including GATE, KEE,
ESOL
ICT Integration
Include software Video camera and TV to view and reflect.
used & specific
skills.
Resources
What resources are Text / Print Digital / Online People and Places
available to me?
How will I use - Student Information sheet Music
classroom and – “Oceania” CD by Hinewehi Mohi Track 1 and 2
environment, school – MYP Reflection handout – NZ Music for Creative Dance CD1
environment and or – “How to Make a Dance” – Footnote Dance CD
the community to handout – Mamaku Project CD
facilitate learning?
- Fish-bone Handout – Trio exemplar DVD
Include specific text
- MYP Learner Profile
titles, URLs, template and MYP Learner
experts' contacts Profile in Dance descriptor
etc. grid
– Dance resource posters
in classroom
– Dance Planning Sheet
Stage 3: Planning for Learning

Key learning Given the guiding question, learning objectives and assessments how will I teach the lessons in this unit? (Also refer to the KATL)
activities document)
Learning Objectives Activities Resources
LESSON ONE
– Introduce the new unit, outline activities, assessment and expectations.
– Explain to students that the focus of the unit will be on exploring and
experimenting to create new shapes and movements, taking risks to try new
ideas, being innovative by thinking outside the square.
– Use MYP Learner Profile Bubble sheet. Discuss with students how we will be
using the Learner Profile during the creative process.
– Students give specific examples of how they can use each of the Learner
Profiles in Dance.
LESSON TWO
– Discuss steps in creative process. Use “How to Make a Dance” handout.
– Extension Activity: Ask students to recall steps in the inquiry process, use as an – “How to Make a Dance”
analogy for choreographic process eg Defining – define the choreographic goal, handout
● Students will set the circumstances (in this case set for you. Option of giving students goal eg
understand the “use shape and transitions to create a solo sequence”, and asking students to
steps in the add one more “rule”/boundary eg “I must always keep my right hand on the floor”
creative process = extra for experts). Find information – explore and experiment to find new
shapes and movements; Selecting and Evaluating – select the ideas that
interest you, record them in journal, evaluate ideas to decide which are most
innovative, imaginative and will be used in your dance; Recording Information –
Plan the dance; Create and Present – create, rehearse to polish, (clarity)
present; Reflect. Ask GATE students to recall the inquiry process and identify or
describe the equivalent step in the creative process.
– Explain to students that they will be required to take responsibility for using the
creative process of exploring, recording and selecting movement ideas,
planning, realising and evaluating a solo sequence of dance.
● Students will take – Explain that they will be doing a reflection on the lessons activities for homework
responsibility for each night. Questions will be on classroom notice-board on eKristin
the creative – Students identify which part of the creative process will make particular use of
process of which Learner Profile. – MYP Learner Profile
exploring, – Put students into trio groups Bubble Sheet
recording and – Give Task Brief
selecting – Ask students what first step in choreographic process is – ask them to refer to
movement ideas, their “How To Make a Dance” handout (choose theme/stimulus)
planning, realising – Spread pictures of waka and pounamu out on the floor. Each trio to select one
and evaluating a object and image to work use a stimulus/starter for their dance
solo sequence of – Ask students what next step is (Gather Ideas)
dance – Explain that tomorrow we will be researching their stimulus as a way of
gathering ideas to use in their choreography
LESSON THREE
Gathering Ideas
– Go to LIC to research significance of the object they have chosen.
– Share findings, group brainstorm of shapes, ideas, symbols, meanings etc
associated with their object.
– Discuss and agree one area/topic to focus on. Each group writes their theme on
the whiteboard – teacher to use these tomorrow in shape exploration
LESSON FOUR
Workshop Ideas 1 – Explore and Experiment
SHAPES and RELATIONSHIPS Revision; TRIO SHAPES
– Warm-Up Skills Activity: Musical Shapes game to revise use of mixing up
different shapes in one body shape, unusual body bases, different connection
● Students will revise points. Music plays = locomotor movement (teacher calls out instruction
how to manipulate travelling around the room - run, roll, skip, gallop etc), when music pauses
the elements of freeze in a still shape of what teacher calls out - could use eg curved, angled, – Fish-bone diagram
dance, in particular connected using shoulder to hip etc). OR use a dice). Music pauses = freeze – SEED formula
Body Awareness in a trio shape (teacher calls out instruction eg high, medium and low; stretched,
and Relationship, curved, twisted and angled shape; body base of 1 hand, 2 feet 1 shoulder and
to create back of head; connecting shoulder to knee and back to back of thigh and calf.
imaginative, Include relationships between dancers in space. One shape that combines
under, over, around AND through in a trio shpae – freeze, look around, what do – NZ Music for Creative
unusual, original
these shapes suggest/make you think of/look like? Is this idea of combining Dance CD 1, Track 2
trio shapes
relationships between dancers useful for your trio Waka/Pounamu
choreography? Record any shapes you liked that you may want to use with a
Body Shape (stick figure) diagram in your journal.
– Focus on the Unit Question: “How can we create an imaginative and original trio
dance?”
– Discuss tools students have for creating unusual shapes and making
movements more interesting, eg use unusual body base, combine a range of
different shapes in one body base, use a range of levels, contrast( eg levels with
partner), face a range of directions, use unusual connection points etc
● Students will – Students record their ideas on a fish-bone diagram (tool on each branch,
activate prior
learning and specific example on the leaves)
knowledge about – Creating a selection of still images to represent their stimulus, its functions and
the guiding question significance. Students explore ways of creating imaginative shapes based on
their stimulus object. Things it symbolises (one must have each dancer facing a
different direction) (eg call things from brainstorms such as strength, sea,
friends, wood, stone, trees, green, carving), one for shapes in their object, one
for their chosen theme and one more eg the one from the Task Brief with heads
on different levels and unusual connection points etc.
– Students re-read their Fish-bone diagram on tools for creating imaginative,
unusual shapes, choose 2 they have not used and apply them to improve their
group shapes. OR Pair groups up, each group shares, watching group says one
shape they like and WHY (use elements of dance to give reasons) and one
shape that could be improved and HOW and WHY (use elements of dance.
– Record their 4 shapes. Body Shape diagram. Leave 4 lines under each one for
homework.
– Remind students that the beginning and ending shapes are the most important
part of a dance. Beginning needs to grab audience's attention and arouse their
curiosity, and the ending shape needs to be memorableand stick in their mind.
– HOMEWORK: (If time, do the first journal entry of the lesson in class and collect
● Students will take in for feedback.) Students to choose their favourtie shape and explain WHY
responsibility for they have chosen each of their favourite shapes. Can't just say “because it is
the creative interesting, I like it” Have to say why eg because the body base shoulder and
process of knee is unusual” or “I like the way my leg is sticking up in the air but the rest of
exploring, my body is low near the floor”. Choose least interesting shape and give one
recording and specific way it could be improved. Choose which shape you think should be the
selecting Beginning Shape for your group's dance (needs to be attention-grabbing and
movement ideas, arouse curiosity) and say why you have chosen this shape. What is it about the
planning, realising way you have used the elements of dance that makes it attention-grabbing,
and evaluating a original and unusual? Choose which shape would be best for the Ending Shape
(should be memorable and stick in the audience's mind). Explain why you have
sequence of dance
chosen this shape as ending. – NZ Music for Creative
Dance CD1
LESSON FOUR – “Quidam” soundtrack
TRANSITIONS A
– Warm Up – travelling on the diagonal: walk 2 steps, step together and rise,
lower; 2 steps forward, 2 steps turning; running; running and turning; side
stepping; galloping; 3 runs and jump feet together sideways; step leap; run and
jump shape in air; repeat students make own shape in air
– Ask students to revise their trio shapes from stimulus, discuss which should be
beginning shape and which should be ending shape, put them in order. All
perform together, teacher-directed, whole class at once eg “Show me your
beginning shape, your second shape” etc
● Students will learn – Explain that this workshop will focus on creating ideas for transitions to move
how to experiment from one shape to another.
and explore – Explain Pathways. Teacher holds up a series of patterns. Students individually
through structured create a floor pathway for that pattern.
and spontaneous – Ask students to identify three patterns in their photo eg spiral, zig zag, dashes.
activities Create 2 floor pathways based on identifed patterns in their stimulus. – Dance Planning Sheet
– As a class, explain the concept o fair pathways and explore making air pathways
with different body parts - “Show me a zig zag with your head; a spiral with your
fingertips; triangle withyour toes...”
– Ask each student to choose a body part and create an individual air pathway
based on a shape in their stimulus. – NZ Music for Creative
– Explain NON-UNISON = every one doing different movements at the same time. Dance CD1
Ask students to put air pathways together in non-unison = all at same time. – “Quidam” soundtrack
– Put together in a short pathways sequence.
– Share with class (or share to a partner group), discuss effect of non-unison and
● Students will
level of interest. Feedback to each group.
present their dance
– Revise trio shapes sequence
work in an informal – HOMEWORK: Reflect on the interest of the transitions you created today.
context Which was most interesting? Why? Which would you would like to use for your
group's dance? - Camera, tripod and tape
LESSON FIVE
TRANSITIONS B
– Warm-up
● Students will learn – Ask students to be in their beginning shape. Ask them to find a way of falling out
how to experiment of this shape, catching themselves and using the momentum to make their way
and explore into the next shape. Repeat through the shape sequence.
through structured – HOMEWORK: journal entry in class.
activities – Revise pathwways sequence and trio shapes sequence
LESSON SIX
TRANSITIONS C
• Each student to share a kapa haka movement (motif) or 2 with their trio and
combining them using the choreographic devices of non-unison, unison and
canon. (Unison = same mvt at same time, Non-unison = different mvts at
same time, Canon = same mvt at different times eg 4 beats later).
● Students will learn • Present to class and discuss effect of each: Non-unison provides contrast to
how to experiment unison, also a sense of individuality or sometimes chaos/ disorder, difference, each
and explore involved in own world. Unison = teamwork, as one, unity. Canon = like
through structured natural processes, wave-like. Dancers are not in unison but remain
activities connected through same movement = flow.
• Revise trio shapes with falling transitions sequence, pathways sequence,
HOMEWORK: Reflection, plus each student to “storyboard” one sequence on dance
planning sheet for chopping up for fragmentation tomorrow.
LESSON SEVEN
Planning
– Receive Task Brief and talk through
– Watch exemplars and discuss.
– Revise trio shapes with falling transitions sequence, pathways sequence,
● Students will solve and kapa haka sequence
problems, co- – Ask students what is the next step in the dance-making process (refer to
operate, negotiate handout). Students to select the movements they wish to use in their Waka
and make decisions or Pounamu trio. Ask students to decide the order they will perform these
with group movements in the dance. Explain they have 2 lessons to create, third
members lesson videoed for reflection. Then one to watch and improve/refine, before
assessment.
– Extension Activity: Students use the choreographic device of Fragmentation
to cut up their sequences and put them back together again in a new order.
Useful to write out each sequence as a storyboard/comic strip, cut into
pieces
– Students plan their dance, either on the Dance Planning Sheet or in their – Dance Planning Sheet
workbook.
– Beginning creating and practical rehearsal when ready.
LESSON EIGHT
Creating 1
– Revisit dance planning sheet, create Waka/Pounamu trio.
LESSON NINE
Creating 2
– Warm-Up
– Students revise their choreography so far.
– Introduce device of Contrast = difference or opposites. Ask for ways we can
show/use contrast.
– Students choreograph contrasting speed, levels, direction in their trio.
– Discuss use of focus. Demonstrate dancing with a partner and not looking at
them. What is the effect? (Ignoring partner)
– Demonstrate dancing with a partner and finding every opportunity to look at
them and relate to them. What is the effect? (Strengthens the relationship,
makes the dancers seem connected in some way.)
– Ask students to find eg 3-4 moments where they make eye contact with their
partners. Choreograph where their focus is directed.
– Demonstrate use of energy quality to show relationship. Eg helping partner up –
really pull them up. Holding onto a partner – really hold tight. Other examples
may include grasping, holding back, pushing, supporting – doing these with
commitment so the dancer is really doing it, and not “showing” it.
LESSON TEN
Video
– Warm Up – “Oceania”
– Revise choreography – NZ Music for Creative
– Play 3 pieces of music (which teacher has been playing “randomly” during the Dance CD1
process as background music. Students choose which of the 3 they will perform
to. Music is to support the dance, not direct it.
– Rehearsals
– Students perform for videoing
LESSON ELEVEN
Evaluating
– Students view video and evaluate their sequence. What works? Why? What
are the dance's strengths? What doesn't work? How can it be improved? What
is needed? Reflect on what works, what the weakest moment is and two
strategies for improving it.
– (NOTE: the test: - is the dance imaginative (original, unusual)? Does it use
a range of movement? Does it include everything in the task brief? What does the
dance make you think of? Does it respond to a waka or pounamu? Is this clear in
the dance?) All students in the groups discuss ideas for improvement. Record
feedback in their journal for use in their next rehearsal plan.
– Revisit Task Brief – have you used everything in the Task Brief to its full
potential?
LESSON TWELVE
Refining
– Warm Up
– Revisit reflection? Refine and improve choreography
– Check Task Brief
– Final rehearsals
LESSON THIRTEEN
● Students will Perform
present their dance – Warm Up
– Final Rehearsals
work
– Present choreography
LESSON FOURTEEN
Reflection
– Students complete their MYP Reflection Sheet and hand in all developmental
workbook, journal reflections, fishbone diagram, Dance Planning Sheets etc.
LESSON FIFTEEN
Complete rest of MYP Reflection. Watch performance of choreography on DVD,
reflect and evaluate choreography, receive marks, wrap up
Choreographic process, exploration, experimentation, reflection, evaluation, risk-taking, open-minded, Body Awareness, body base, body
Vocabulary shape, straight, angled, curved, twisted, variety, range, contrast, connection points, direction, level, transitions, relationships, under, over,
Key terms / around, through, beside, behind, above, below, imaginative, unusual, innovative, original, choreographic devices, unison, non-unison,
Concepts contrast, floor pathway, air pathway, fragmentation
Stage 4: Unit reflections and evaluation

Review
Review the Comment on pace, content, relevance, Comment on effectiveness of Comment on unit resources
effectiveness of student engagement etc. learning / teaching strategies and
the unit
To what extent:
assessments
were the
purposes fulfilled?
Was the unit
relevant,
engaging,
challenging and
significant?
Were the
resources
adequate?
Were the
understandings,
essential
questions, skills
and knowledge
addressed?
Were the needs of
all students
addressed?
Recommendatio
ns for future
change(s) to unit
Authors /
Teachers
Copies to:
Signed off Curriculum Manager Library ATL leader Posted on H Drive
by LLC
Middle Years Programme
Unit Title: “Shape Up! - Sculpture Dance”
Unit Plan
Unit Plan Overview
Curriculum Area : DANCE Teachers :Melanie Turner Year Level : 9 Term / Duration (in weeks)
NZ Curric Level (if applic.) 4 2 weeks
Stage One: Integrating significant content, the Areas of Interaction, and assessment
within a Guiding Question
Area of Interaction Significant Curriculum Content
Choreographic Techniques, the Dance Elements of
Health and Social Education Body Awareness and Space
MYP Guiding What are the Elements of Dance and how do I use them to create shapes and movement?
Question(s)
or Central
Idea
Students will be able to:
MYP Learning ● learn, apply and demonstrate group work skills including offering, accepting, negotiating, compromising, encouraging and taking creative
Objectives risks
Which specific ● explore the dance elements of body awareness and space to create imaginative and unusual shapes and transition movements
MYP objectives will ● explore the choreographic device of non-unison
be addressed in ● experiment and explore through structured and spontaneous activities
this unit?
● gain a fundamental understanding of the dance-making process
What will constitute
acceptable evidence ● solve problems, co-operate and make creative decisions with others
of understanding? ● present their dance work in an informal context
Intercultural Awareness Communication Holistic Learning ~
– viewing dance as art - Reflecting on own actions connections to other MYP
MYP and culture - Discussing effectiveness of creative choices subjects
Fundamental – discussing another -Confidence and skills to communicate and present own ideas through the medium Health - Relationships with
Concepts form of art/culture of movement Others
How will learning (sculpture) Visual Art – Responding to a
in this unit transfer sculpture work through
into opportunities movement
for student action?
Attach a copy of any

assessment
guidelines for Assessment ~ which MYP assessment criteria will be used?
students or rubrics
This unit will be
assessed for the
following criteria
Criteria A Criteria B Criteria C Criteria D *** Criteria E Criteria F

Criteria titles
Describe key Summative Assessment(s)
assessment task(s)
which allow students Personal Engagement /8 – ability to offer, accept, negotiate, compromise, encourage and take artistic risks.
the opportunity to Evidence: Group work in rehearsal, developmental workbook reflections and self-assessment
answer the Guiding
Question.
Stage 2: Backward Planning ~learning activities should be driven by Stage 1

Engaging Students with the Guiding Question
Prior Learning
What are the
students entry
points?
What diagnostic
tools will I use?
Formative Teacher gives written feedback on Criteria B Application (choreography) and C Reflection and Evaluation (developmental workbook) for application
assessment in summative assessment in Waka and Pounamu unit in second term of course.
How will I give Students do self-assessment of their group work skills for Criteria D. This evidence is drawn on heavily in teacher's summative assessment for
students
Criteria D.
feedback ?
What opportunities
are there for
Student Self
Reflection?
Exemplars
to show students
Describe examples of top-scoring behaviour
so they understand
what is required?
Teaching and Learning Strategies

Collaboration
Approaches to Group Skills, Team Work, Caring, Negotiating
Learning Thinking Skills
How will I teach? Creative Thinking, Problem Solving, Decision Making, Critical Thinking, Thinking Strategies
Which KATL
strands/ focus Teaching exploration, creative risk taking and enquiry
/skills? Reflection
Process Journals, Peer and Self-Assessment, Metacognition
Caring – caring for self and others, respecting, valuing, encouraging, offering and accepting
Learner Profile Communicator – verbal communicator in group work, written communicator in developmental workbook, physical communicator as a dancer
Which Learner performing their dance work
Profiles will be Open-minded – learn from new experiences and consider new ideas through choreographic workshops.
emphasised and Risk-Taker – creative risk-taking by trying new activities, new ideas, shapes and movements; thinking outside the square; showing courage to
how?
explore unfamiliar ideas and movements.
Differentiation
Strategies
including GATE,
KEE, ESOL
ICT Integration
Include software
used & specific Video camera and TV to view and reflect, class conference for developmental workbook questions
skills.
Resources
What resources Text / Print Digital / Online People and Places
are available to
me? Laminated images of Music - “New Zealand Music for Creative Dance” CD1
How will I use sculptures
classroom Handouts - Footnote CD of music
environment,
school
environment and
or the community
to facilitate
learning?
Include specific
text titles, URLs,
experts'
contacts etc.
Stage 3: Planning for Learning
Given the guiding question, learning objectives and assessments how will I teach the lessons in this unit? (Also refer to the KATL)
document)
Learning Objectives Activities Resources
Lesson 1
As a class, work through the “Skills In Dance” worksheet, paying particular
“Skills in Dance”
importance to group skills, explaining and giving examples of these, asking worksheet
students why they are important. Explain that they are assessed on their use
of these in this unit for Criteria D.
Key learning Lesson 2 – Elements of Dance, Body Awareness, Body Parts, Body Shape,
activities Body Base, Body Shape Diagrams
Introduce the concept of Body Awareness by explaining that it is one of the
five elements of dance – put all on board.
The elements of dance are like the building blocks of dance. All movement is
made up of the elements of dance.
Teach Warm up – 8s. Explain concept of Unison.

“New Zealand Music for
Put Body Awareness star diagram on board.
Creative Dance” CD1
Body Parts - Ask students to brainstorm a list of as may body parts as they
can think of in eg 1 minute. Then select most unusual body part they have
thought of. Ask them to make a movement with that body part – all copy
each other.
Body Shape – straight, angled, curve, twisted – try each. Introduce Levels –
the level you are on is the level your head is at. Combine angled and low,
stretched and high etc.
Teaching point: combining shapes in one body shape is a good way to make a
body shape more interesting. Teacher demonstrate – all limbs
stretched/straight, versus combining eg stretched, angled, twisted and curved.
Which is more interesting? Why? Give combinations for students to explore.
Introduce Body Base – the parts of your body touching the floor AND bearing
your weight.
“And Nothing Else”. Students make connected shapes using the body bases
given to them by the teacher individually at first, then in groups eg create a
connected group shape using a group body base of two hands, a head, an
elbow, one foot and a knee and nothing else. Put in order, practice and share
with the class. Save for tomorrow.
Teach students how to draw body shape diagrams (stick figure, draw in floor
so not jumping/floating). Learn/practice with handout of dancers from
different styles in different shapes. And/Or ask students to draw body shape
diagrams of their three favourite shapes so far. (Note: group shapes are much
more difficult to draw than individual ones.)
(Also option of using puzzle balance sheet with spaces ruled on right hand Puzzle counterblanace
side for students to draw in. Students to work with a partner and see if they sheet
can each do the balance described. Then look at the key to work out what the
body base is – write down? and create another balance with the same body
base. Draw the new balance you have created on the right. Note: this
exercise does not encourage variety in creativity though as the body bases
used are all 2 of something.)
Lesson 3 – Locomotor Movement

Introduce and explain locomotor and non-locomotor movement
Warm-Up - 8s
Relay Races – ask students for locomotor movement suggestions.
Revise group shapes from yesterday. Explain concept of transitions. Ask
students to use locomotor movement to add transitions between each group
shape.
Share.
Lesson 4
Warm-Up
Revise content of last 2 lessons with “Musical Shapes” - when music plays
students are travelling (teacher call out locomotor movement – be sure to vary
level and body base here). When music pauses, students create a still shape
based on teacher's instruction eg body base of 1 had and 1 foot, angled,
stretched and low level.
Explain that they will apply the skills we have learned to create a movement
response, a dance, based on a sculpture of their choice.
Put students in groups, introduce sculptures, ask each group to choose one. Laminated images of
Use handout to brainstorm ideas for a dance. sculptures
Start creating 5 shapes based on their sculpture.
Lesson 5
Revise, create transitions.
Rehearse. Share with the class. (Video for teacher formative feedback on
choreography.) Discuss high points, level of interest and originality, moments
of creative risk-taking, areas for improvement and specific suggestions for.
Lesson 6
Complete MYP Reflection and Self-Assessment of group skills, personal
engagement, Criteria D.
Vocabulary
Key terms /
Concepts
Stage 4: Unit reflections and evaluation

Review
Review the Comment on pace, content, relevance, Comment on effectiveness of Comment on unit resources
effectiveness student engagement etc. learning / teaching strategies and
of the unit
To what extent:
assessments
were the
purposes
fulfilled?
Was the unit
relevant,
engaging,
challenging and
significant?
Were the
resources
adequate?
Were the
understandings,
essential
questions, skills
and knowledge
addressed?
Were the needs
of all students
addressed?
Recommendati
ons for future
change(s) to
unit
Authors /
Teachers
Copies to:
Signed off Curriculum Manager * Library ATL leader * Posted on H Drive
by LLC
MYP
unit planner
Unit title My body talks
Teacher(s) Roxana Reyes
Subject and grade level Drama grade 7
Time frame and duration 24lessons (50 mins)

question

Human ingenuity-during this unit we will be My body has a language and I can use it
using our body language to communicate. to communicate.
Students will use their capacity to create
and invent and they will become developers
and not just creator.
MYP unit question
To what extent a person can used non verbal language to

deliver a message?
Assessment
Students will be assess on their 4 stage presentations:

- Physicalization
- Mirror
- Chain reaction
- Tableaux
1- Demonstrate knowledge and understanding of the theoretical basis of the art form studied.
2- Accept and incorporate views and feedback from others to further develop their artist potential.
3- Support and encourage their peers towards a positive working environment.
Criteria A and B

Content
question?
1- Students will make use of various stimuli for creation. Taking into account his/her and
artistic development.
2- Students will take into account visual codes to enhance the effectiveness of the
message.
3- Students will create his/her dramatic performance using the drama concepts.
4- Students will analyze their dramatic performance with those of classmates, and
communicate their ideas orally or in writing.
`Collaboration- demonstrating teamwork- including delegating and taking responsibility, and resolving
group conflicts.
-Thinking- generating ideas- including the use of brainstorming.
- Planning- including storyboarding and outlining a plan.
we know?
Teacher will show the rubric to the students. - Teacher will introduce each technique individually. She
will do so by using cognitive apprenticeship strategy.
Students will be introduce to these techniques
First, she will model the particular skills of the
In the following order: physicalization, mirror
technique being taught. Second students will be engage
image, chain- reaction, and tableaux.
on a series of exercises to master the newly acquired
Students will produce a series of final skills and third they will be put in small groups and will
performances base on the task being assess at be given specific task to work on. At end of each mini
the time. unit students will present their performance to the rest of
the class.
Teacher will give verbal feedback throughout the
creative process. Students will reflect on their work in a
journal entry.
Resources
the unit?
Drama class
Smal stage in class
Every day life experience
Each other to brain storm ideas
action?
Assessment
Data collection
The main objective in this unity is to make students aware that their body has a language and is a very
powerful one. From the moment students enter school the main focus is to develop writing and reading
skills, by the time they start high school they are very good at delivering verbal information, but they are
lacking the non verbal language skills. This unit was not easy for the students at the beginning , but as the
learning took place and they started getting results they were quite impress with there own learning.
Each student has been change by the learning experience in at different level. They have become more
aware of the facts that the way they walk or the way they seat has a meaning, and if not used correctly
can give the wrong impression. As I read their journals I came to realize that they have gained some
understanding that physical manners have a great impact on how people look at theme. Hopefully this
will serve theme well in that first job interview. Team work was done well. They all collaborate with each
other very well and delivered skilfully, clear, and interesting performance.
The Learner Profile attributes that the students will develop are Communicators, Inquirers and Risk-takers.
Figure 12
MYP unit planner
MYP unit planner
Unit title Hip Hop and Media
Teacher(s) Caroline Jones
Subject and grade level Dance MYP 4
Time frame and duration Eleven weeks (30 lessons x 50 mins)

question

One must respect the Art of Hip Hop

dance. Hip Hop dance is more than what
Human Ingenuity - the students will be
you see in Music Videos.
creating and performing dance routines
MYP unit question
So You Think You Can Dance?
Assessment
The students will:

1) Learn my Hip Hop Choreography
2) break down a song into bars of 8 counts
3) form a dance group
4) create a choreography
5) perform the choreography on stage in front of judges
6) evaluate their creative process
Students should be able to:

- Develop an idea, theme or personal interpretation to a point of realization, expressing and
- Apply skills, techniques and processes to create, perform and/or present art
- Evaluate their work
- Use feedback to inform their own artistic development and processes
- Show commitment in using their own artistic processes
- Demonstrate curiosity, self-motivation, initiative and a willingness to take informed risks
- Support, encourage and work with their peers in a positive way
Criterion B, C, and D

Content
question?
To create their own choreographies the students will use the following skills and background
knowledge:
- breaking down a song into counts of 8
- knowing what the chorus and hook of the song are
- use the dance sequences from the learned choreography
- use the dance sequences from the choreography seen on DVD
- know what Hip Hop dance is from the Hip Hop dance documentary shown in class
- know what Hip Hop dance is not from the Hip Hop dance documentary shown in class
The students will :

- be on time
- come to every class
- practise at home and in class
- develop teamwork skills
- come to class prepared : They will have their dance attire, music and know the choreography created
from the previous class in order to be able to continue creating.
we know?
The teacher will : The teacher will;

- Show the rubrics - Give verbal feedback throughout the creative
process
- Give examples of what a choreography
should look like via DVD of - Have Dance judges give verbal feedback after the
professional dancers and live dance students’ performances on stage
teacher demonstrations
- Video tape the students’ performances and have
The students will: the students watch themselves
- learn teacher directed choreography - Provide students with one on one help
- watch and evaluate professional dancers - Place students who are having difficulties in the
back row. They will be able to follow the
- learn technical dance terms
stronger students.
- watch their performances on dvd and
The Teaching Methodologies that the students will
evaluate them
develop are:
- Constructivism
- Problem-based learning
- Resource-based learning.
Resources
the unit?
Hip Hop documentary

Hip Hop dance videos
Cd player
Music
Danceroom
Auditorium
School Hallways
action?
Assessment
Data collection
Students were excited about the whole concept of Hip Hop because it is woven into their everyday llives.
They were excited about creating their own choreography.
Two particular groups found the creating process challenging. They were having difficulties agreeing on
certain dance moves. I needed to intervene on several occasions.
One group had a difficult time getting started. They didn’t agree what song to choose. They forgot to bring
in their song on a c.d. I needed to intervene on several occasions.
Performing on stage was a challenge for a lot of students because they were very nervous. Their
performances in the classroom and on stage were different. It was more difficult for them to perform on
stage in front of an audience.
When I do this unit again I will form the dance groups myself. I will pair stronger students with weaker
ones. This way the calibre of dancing won’t range so much from one group to the next. For the students
who were not bringing in their music every class, I will lend them one of the c.d’s that I have.
Because the students have dance twice on a six day cycle, some groups did not complete their
choreographies. Next year I will extend the unit four more weeks.
The students respect choreographers now! They realize that what they see in a lot of Hip Hop music
videos isn’t dancing. What they see is the degradation of women.
The attributes of the Learner Profile that the students will develop are Knowledgeable, Inquireres and
Balanced.
Figure 12
MYP unit planner
MYP unit planner
Unit title Exploring Stanislavsky through creating monologues
Teacher(s) Yvonne Henley
Subject and grade level Drama MYP Year 5

question

Which area of interaction will be our focus? Why What are the big ideas? What do we want our
have we chosen this? students to retain for years into the future?
Human Ingenuity: Introduction to Stanislavsky and his

System. Understanding of how to develop
What can I create in response to personal ideas
a character and create truth on stage.
or feelings? Who was Stanislavsky and why
was his System so revolutionary? How have my
own views of character work and performance
changed with regard to Stanislavsky’s work
and methods?
MYP unit question
How can an awareness of Stanislavsky’s System help

actors to create truthful characters on stage?
Assessment
Undertaking a series of introductory workshops exploring Stanislavsky’s techniques. In workbook

reflections and practical work, students will demonstrate their understanding and see how they can create
truth on stage.
Students introduced to different ways of creating an original character in class, before developing it further
using given circumstances, creating back stories and use of the ‘magic if’ as well as emotion memory and
improvisation. Through practical work and believability of characters created, as well as workbook
reflections on what they have done, students will demonstrate their understanding.
Students will devise a 3-5minute monologue for their character, having looked at existing monologues and
thinking about truthfulness throughout. The monologue will be drafted and re-drafted, demonstrating ability
to write in role and understanding of how to express emotions and character truthfully. Student will apply
Stanislavsky techniques to rehearsing and adjusting the monologue to show their understanding. Guided
reflection in the journal will support practical work.
Final performance of the monologue with costumes, props, lights and staging, the aim being to create a
truthful and believable character on stage.
Written evaluation of the final performance, looking at how Stanislavsky’ techniques were employed and
assessing whether truth and believability was achieved by analysing feedback from others and watching
back the performance on video.
Communicate a critical understanding of the art form studied in the context of their own artwork.
Apply skills, techniques and processes to create, perform and/or present art.
Reflect critically on their own artistic development and processes at different stages of their work
Evaluate their work
Use feedback to inform their own artistic development and processes.
Show commitment in using their own artistic processes
Demonstrate curiosity, self-motivation, initiative and a willingness to take informed risks
All 4 criteria:
A: Knowledge and Understanding:
o demonstrate knowledge and understanding of the elements of Stanislavsky’s System, including
specialized language, concepts and processes
o communicate a critical understanding of the System in the context of their own created monologue.
(assessed through the journal reflections and response to guiding questions, as well as final performance)
B: Application
- develop an idea, a theme or a personal interpretation to a point of realization, expressing and
- apply skills, techniques and processes to create, perform and/or present art.
(final performance and supporting account of process in the workbook)
C: Reflection and Evaluation
- reflect critically on their own artistic development and processes at different stages of their work
o evaluate their work
o use feedback to inform their own artistic development and processes.
(reflection and evaluation throughout the process in the workbook, final post-performance evaluation)
D: Personal Engagement
o show commitment in using their own artistic processes
o demonstrate curiosity, self-motivation, initiative and a willingness to take informed risks
o support, encourage and work with their peers in a positive way
(assessed through all stages of the unit through practical exercises, creation of character, approach to the
monologue, final piece and all workbook entries and reflections)

Content
What knowledge and/or skills (from the course overview) are going to be used to enable the student to respond to the guiding
question?
Knowledge of Stanislavsky – who he was and his effect on theatre

Experimentation with his System through teacher-led workshops
How to create a character– looking at initial stimuli such as ‘people watching’, music and script
Character development – through creating back stories, hotseating, working with given
circumstances, improvisation in role
Creative writing – brainstorming ideas for monologues, looking at examples, exploring techniques
of how to write in role (eg stream of consciousness, focusing on emotions, improvisation etc)
Refining and redrafting of monologue in response to practical work, focusing on being truthful to
the created character and using feedback from others.
Selecting appropriate performance skills in order to stage the monologue and create the character
on stage, utilizing Stanislavsky’ rehearsal techniques and focusing on blocking, use of voice,
gestures, facial expressions and effect on audience.
Consideration of all elements that make a final performance and enhance the truthfulness and
realism, including selection of appropriate props, costume, setting, sound effects and lighting.
Ability to analyse and reflect upon process of rehearsal, giving constructive feedback to others and
using feedback given to improve and develop own work.
Self assessment of final performance, indentifying strengths, weaknesses and targets for
improvement.
In this unit, “students are provided with opportunities to function as artists, as well as
learners of the arts’’
‘‘students are guided to create, perform and present art in ways that engage and convey their own
feelings, experiences and ideas’’.
‘‘Ongoing reflection, along with self-evaluation and peer evaluation, allows students to identify their progress and
organize their learning for themselves’’ (MYP Guide)
Research skills.
Application of techniques learnt through practice and creation of own final assessed work.
Opportunity to assess the work of others in order to help with their own work.
Use of feedback to improve and develop.
Self-assessment using specific criteria.
Creative writing skills --- crossing over with work done in English.
Writing in role which crosses into many humanities subjects
Ongoing reflection in the developmental workbook throughout the creative cycle.

Do the students have enough prior knowledge? How will
we know? educational needs?
Task-specific rubrics for criteria A and B will be Students will be given feedback throughout their work
shared with students, as will the generic on the unit, both by the teacher in individual interviews
descriptors for criteria C and D. and by their peers both in preparation and rehearsal
stages and also after the final performance.
Students will learn the initial skills of
Stanislavsky through teacher-led workshops Peer-assessment will be used, teacher-interviews,
and will then apply these to their own practice support groups, teacher-led workshops and
independently developing a character, demonstrations, whole-class improvisations, exemplar
consolidating with class improvisations, through material (in the form of previously performed
paired and group feedback and with teacher monologues and written monologues), observation and
advice and support. feedback throughout rehearsals.
Students will be introduced to a variety of Students working at their own individual pace and to
creative writing strategies in order to create their own capabilities – teacher judgment used to push
their final monologues and will be given more able performers to embrace more of
feedback regularly, throughout the writing Stanislavsky’s challenging techniques to create truth on
process. stage, whilst other students will be encouraged to
explore some of the simpler methods in order to merely
Students wrote and performed short
sustain a role for the length of the performance.
monologues in grade 10, influenced by a piece
of artwork, and so will reflect upon the skills Monologues will be read through with help and advice
they used and refine and improve them within given, more hints will be suggested to those struggling
the context of this unit. with ideas, whilst greater freedom given to the more
able writers. Students will be interviewed throughout
We will know if they have enough knowledge by
their progress and pushed to their maximum ability.
preparing guiding questions on Stanislavsky’s
System for them to answer in their Any group or paired support work throughout rehearsals
developmental workbooks, by watching will be teacher-selected and mixed ability.
rehearsals and feeding back on the work
The only stipulation for the monologue is that is lasts 3-5
produced and by consolidating and reinforcing
minutes and for those weaker writers or with language
techniques throughout the creative cycle.
difficulties, there is the opportunity for character
development without speech within the monologue – eg
encouragement of setting the scene and the character
at the beginning through movement, gesture, facial
expressions etc.
Resources
the unit?
You Tube for clips of monologues from theatre and film

Monologue archive sites on the internet to find examples of already written monologues.
Music as a stimulus for creating characters.
Exemplar material in the form of monologues already written and performed by previous year groups.
Books and resources on Stanislavsky and his System
Performance space, access to props, staging, costume and lighting.
stimulus questions in the unit planning section of MYP: From principles into practice.
action?
Assessment
Data collection

Reflected on their learning through the Developmental Workbook, regularly describing the processes gone
through in creating their monologue and having opportunities to watch each other, receive feedback and
improve their work throughout the creative cycle.
Extension activities could be to develop duologues and group work using the characters creating and
developing the interaction with others and extending characterisation further.
Student initiated action occurred in class feedback sessions and paired work where students commented
on their partners work, reading drafts of monologues and watching work in progress, offering suggestions
informed by the assessment criteria.
All aspects of the learner profile encouraged. Students could take further responsibility into researching
techniques of Stanislavski, perhaps creating workshops for their class mates using some of his ideas and
techniques.
No other Drama teacher but good links with Psychology, and PE in terms of movement and analysis of
character.
Assessment
Students were clearly able to demonstrate their learning as throughout the creative process as they
received regular feedback on their work and opportunities to develop and take on board advice to improve
their final performance.
Students had access to level descriptors and were given the chance to extend their work, watch
themselves and others (on video and in live performances) and see how to develop and extend their work.
They were also shown exemplar performances at different levels to see what they were aiming to achieve.
Figure 12
MYP unit planner
XV.gimnazija, Zagreb,
MYP unit planner Unit 1
Unit title Drama basics
Teacher(s) Darija Kos
Subject and grade level Drama MYP 4 ( grade 9 )
Time frame and duration 12 periods of 45 minutes ( 6-8 weeks)

question

Health and social education –Students Students will develop an understanding of

will become aware of basic drama skills and basic drama skills such as facial
how they can help students to express expression control, non-verbal
their emotions, ideas, and become more self- communication etc. in everyday life and
confident their role in students lives and will also
become more self-confident in everyday
Students will be able to reflect on those communication and presentation of their
skills using their DW as well as by own ideas
presenting them in class
They will be able to show /perform miming
activity and a poster in order to foster their
non-verbal expression and self-confidence.
MYP unit question
How do basic drama skills help in everyday

communication, expressing ideas, feelings and
becoming more self – confident?
1
Assessment
At the beginning of the Unit students will have to improvise a miming activity ( individual)
and will get feed-back from the teacher and peers. ( formative assess.)
At the end of the unit they will be assessed against a specific assessment rubric for miming
activities, devised by students. Both teacher and students will assess the miming activities
against the specific rubric – summative assessment for this task ( see the attached rubric )
Students are assigned various topics regarding drama genres, character and characterization,
theatre and stage types, lightning, etc. and are asked to make a poster, and present it in class.
This will be assessed against a specific oral presentation rubric since the focus is on oral
presentation. ( formative assessment) Peers take notes and eventually there is a brief quiz (
formative assessment ) to find out if the students have learned and understand the basic
drama features/concepts. This will be assessed against criterion A ( knowledge and
understanding)
Students will be able to

• A - apply the knowledge and understanding of the elements/features of drama such
as plot structure, character and characterization, space, voice, and dramatic tension
• B - learn how to control their facial expressions, body movements, foucus on the
given task
• use and apply with understanding specific drama vocabulary- structure of the play,
character and characterization, deus ex machina, etc.
• C – reflect and evaluate their own performance and give an objective commentary,
oral or written in the DW, on their peers' performance
• D – show personal engagement by developing self-motivation, initiative and a
willingness to take informed risks
• by supporting, encouraging and working with their peers in a positive and productive
way
Depending on the task – criterion B ( adapted one) , C and D, and specifically designed assessment
criteria for developmental workbook ( see the attached sheet ) – which will then be transferred into Arts
assessment criterion C, and oral presentation ( see the attachment )
2
Content
question?
The students will be able to show/demonstrate the

Knowledge and understanding of the following: plot and plot structure, character and characterization,
theme/topic of the play, comedy, tragedy, stage design- proscenium and thrust stage, etc.
They should be able to demonstrate the understanding of some basic drama skills such as body
language, facial expression, self-assertion, miming and non-verbal expression, etc. By presenting them in
oral ( poster presentation ) and written form ( quiz and DW entries ) as well as by preenting an individual
mime.
Approaches to learning skills :

Organization- importance of keeping developmental workbook; reflection, design cycle
Collaboration- working in groups/pairs on a common task e.g. designing a rubric for miming
activities
Communication- importance of listening and cooperation; peer assessment and feedback
the use of basic drama elements in class discussions providing examples from real life
situations or Language A content, presenting posters orallyimprovisation
Reflection – completing self-evaluation and reflection questionnaire in DW and commenting
on the DW

we know?
At the very beginning prior to any specific Devising an assessment rubric should help students
drama unit ideas, students are provided with view their own performance from a different perspective
Drama syllabus as well as general assessment
Presenting poster help in gaining self –confidence
criteria for Arts. In class discussion those
documents are explained to students. Basic drama features- quiz
At the beginning of the unit students are Written feedback on DW comments and oral feedback
provided with a general overview of the unit on student work
i.e.stage 1 of the Unit planner.
Prior to each assignments students are also
3
given guidelines and other necessary info as to
how to complete the task .
Also , students are provided with the
assessment criteria sheet prior to the
completion of the task/assignment.
Resources
the unit?
Student produced posters, teacher designed materials and worksheets , other ( if necesary )
action?
Assessment
Data collection
Figure 12
MYP unit planner
4
5
MYP unit planner
Unit title Which Way to Go? (at the crossroads)
Teacher(s) Diana Betout
Subject and grade level 6th Grade, Room 211 Lopez
Time frame and duration December 7- January 15

question

Health and social education • Awareness of choices

• Taking responsibility for choice
making
• Respect for oneself and your future
MYP unit question
I am heading towards the crossroads, which way to go?
Assessment
• Students will write in their developmental workbooks

o Brainstorming
o Record vocabulary
o Sketch plans
o Write scripts
Three drama tools
o Voice
o Body
o Mind
5 drama focus words/ Vocabulary
• Concentration
• Imagination
• Transformation
• Imitation
• Cooperation
Daily Questions
• Why are transformation, imagination and imitation important in drama?
• How does concentration, imagination and listening help you in improv?
• How can imagination help actors and writers?
• How does my story influence my art making?
Games that we have played

• This is not a ruler. It is a …
• Group Juggling
• Animal Concentration
o Bunny
o Elephant
o Donkey
• Pass the Clap
• Kitty in the Corner
• Take a Hike
• 1,2,3 (substitute a number)
Final Assignment
• Class will discuss coming to a crossroad and how it applies in their lives.
• Students will free write about a moment when they found themselves at the crossroads.
• Students will get into groups of 4 to 5.
• They will share with group members about moment that they wrote about. The group will choose one
of the stories to focus on.
• Students will work together to write a radio drama script using the chosen story as inspiration.
• Students will perform their radio drama for the class. If they choose it will be filmed.

• Enact an improvised story.
• Understand how actors use body, mind, and voice to portray characters.
• Collaborate with a small group to create a short script and perform it.

Content
question?
25.A.3b Drama: Understand how the elements of acting, directing, playwriting and designing combine
with the principles of tension, rhythm, pattern, unity, balance, repetition and idea to communicate.
26.A.3b Drama: Describe the use of the primary tools (body, mind and voice) and the support tools
(costumes, scenery, props, lights, make-up, sound) to convey an idea through acting, playwriting and
designing a drama or theatre activity.
26.B.3b Drama: Demonstrate storytelling, improvising and memorizing scripted material supported by
simple aural and visual effects and personal background knowledge needed to create and perform in
drama/theatre.
WIDA
ELP Standard 1: Social and Instructional Language, Formative Framework.
Students will be taking notes in their developmental notebooks and using brainstorming Techniques to gain
knowledge into MYP question. Students will be digging into their own history to create setting and
characters. Students will be developing their concentration by playing a variety of drama games.

o Teacher will walk around, observe students and give
• IB Unit Question will be posted and students immediate feed back
will reflect what they are learning in their DW.
o Teacher will respond to students’ developmental
• Each student will be given a rubric and know notebooks
exactly what is expected of them
o Students will verbally reflect at the end of each class.
How will students acquire the knowledge and practise This reflection will guide teaching.
the skills required? How will they practise applying
these? What different teaching methodologies will we employ?
o Teacher will lead students in a variety of • Modelling

drama warm up games
o Teacher will allow students opportunity to work • Student directed projects
in groups and perform/ get feedback from a
partner • Teacher led discussions
o Whole group instruction and classroom share-
out • Student lecture/ presentation

we know?
How are we differentiating teaching and learning for all? How have
we made provision for those learning in a language other than their
educational needs?
Yes. This unit draws upon the students’ Throughout the unit the instructional strategies are
varied. Students participate in class discussion, small
life experience. I have had these students
group discussions and partner discussions. They have
for two years in drama. They have been opportunities to show what they know by writing, sharing
trained in basic drama skills. I will or performing. During the final presentation students
review and asses what they know on the are given the opportunity to choose a role that fits their
learning needs.
first day of class.
• Students who are learning in a language other than their
mother tongue will be encouraged to work in the
language they are most comfortable. They can meet the
drama objectives in any language. They may also
discuss what they are doing with a peer that speaks their
own language.
• Students with special needs will be given time to think and

formulate an idea. They will be able to speak with a
friend and share out their ideas. No one will be forced to
perform in front of the class or placed in a situation that
they are uncomfortable. They will be asked to leave
their comfort zone at their own pace.
Resources
• Developmental notebooks
• Pen and paper
• Camera to record sound
• Objects to create sound
How will our classroom environment, local environment and/or the community be used to facilitate students’
experiences during the unit?
Drama class will take place in the classroom. The desks or tables will be moved to the side when we play the drama games.
What did we find compelling? Were our disciplinary knowledge/skills challenged in any way? (Students) High school is on our
minds. Two groups chose the crossroads of deciding what high school to go to. One group was torn between choosing friends
that are smart or friends that like to get in trouble. A final group had to decide rather or not to become friends with a group of
bullies.
What inquiries arose during the learning? What, if any, extension activities arose? (Students) What decisions should we make
so that we end up where we want to be? At the end of the final performances students were able to discuss the crossroads that
they are at and share with peers some of the decisions that they are making.
How did we reflect—both on the unit and on our own learning? We reflected verbally by having peer to peer share outs, small
group discussions and whole class discussions while standing in the drama circle. Students were also able to reflect on their
own in their developmental notebook.
action? One of the strongest learner profiles that students used was being Principled. The students were coming to
crossroads that forced them to make tough decisions. They really thought about the consequences of all choices and made
the best one that they felt they could. They decided to stick up for other people, choose a high school that would fit their career
goals instead of where the friends were going and decided the right friends to hang out with.
• Collaboration was not used for this unit.
• Character development
• Concentration
• Cooperation
• Story elements
Assessment
• Drama games
• Class discussions
• Written scripts
• Final performances
• Developmental workbooks.
Students received copies of the assessment criteria at the beginning of the month. We discussed what was expected and
checked for understanding.

Tthese students are ready for the next year of drama when they will be creating dialogue to perform on stage. They showed
that they are opening up about acting in front of their peers and are growing as actors.
Data collection
I collected developmental notebooks, written scripts and we recorded the final presentations.
The data was helpful in determining where students are and how I can support them on their
final project.
• Video of final performance
• Developmental workbook entrees
Figure 12
MYP unit planner
MYP unit planner
Unit title Accepting Me, Accepting You
Subject and grade level 7th
Time frame and duration April 27th – May 20th

question

Health and social education • Accepting differences in others

• Respect for oneself and others
MYP unit question
How can I learn how to accept myself and in doing so

accept others?
Assessment
•Students will work together to create classroom stories

o Students will demonstrate their understanding of accepting others by working
cooperatively in a group, sharing their ideas and trusting others by letting go of
control of their own work.
•Students will watch a children’s theatre production of Charlie and the Chocolate Factory,
Adapted by: Richard R. George. They will create a character and write a short script adding
that character to the Charlie and the Chocolate Factory play.
o Students will demonstrate their understanding of accepting others by the way they
develop the character and how their script evolves.
•Improv games-
o Role-playing- Students will work in small groups of five to six students. Each group
will break into two smaller teams of two to three students. Each smaller group will be
labelled group A and group B. Group A will be given a role-play and asked to act it
out for the group B. Group B will then act out the same role-play for group A. Once
both groups have had an opportunity to perform and watch a performance they will
write down five observations in their developmental notebooks. They will list the
conflict and how it was resolved in the role-play and create another conflict resolution
for that same role-play.
• Work collaboratively with peers
• Use a personal experience to create a drama
• Improvise dialogue by playing theatrical games
• Understand how actors use body, mind and voice to portray characters.
A and B

Content
question?
drama/theatre.
•Memorizing text
•Watching a children’s theatre piece
•Character development worksheets
•Collaborative skills
•Reflection- writing in developmental workbook
•Problem solving and thinking skills including performing and observing the conflict role-play

•Students will receive verbal feedback on their
• IB Unit Question will be posted and
character development and given
students will reflect what they are
opportunities to share with peers
learning in their DW.
•Students will receive a rubric based grade on
• Each student will be given a rubric
their character development and their scripts
and know exactly what is expected of
them •Students will receive written feedback on their
How will students acquire the knowledge and practise developmental workbooks
the skills required? How will they practise applying What different teaching methodologies will we employ?
these?
•Cooperative learning
• Students will watch a children’s
theatre piece • Modelling
• They will participate in classroom • Student directed projects
discussions
•Teacher led discussions
• They will work in cooperative learning
groups •Students performance
• They will write in their developmental we made provision for those learning in a language other than their
workbooks. mother tongue? How have we considered those with special
educational needs?
we know? • Students will a variety of ways to demonstrate
• Students will demonstrate their prior understanding of the big idea.
knowledge in classroom discussions
and their developmental workbooks. o Worksheets/ graphic organizer
o Student performance
o Drama games
o Attitude in class
•ELLs will work with other students to complete
task. Depending on their language level,
they may choose to write in their home
language or English.
• Students with special needs will be given
additional time or allowed to work with a
partner to complete their tasks.
Resources
• Large butcher paper

• Coloured markers
• Story Grid
• VHS tape of children’s theatre production of Charlie and the Chocolate Factory
• Character development worksheet
• Role-play cards
the unit?
• Students will participate in learning activities in the drama room

• Desks will be arranges based on needs
action?
How successful was the collaboration with other teachers within my subject group and from other subject groups? This unit
does not involve collaboration with other content areas.
What interdisciplinary understandings were or could be forged through collaboration with other subjects? Students are
gaining understanding of social emotional heath along with attainment authentic purposes to write.
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title What does it mean to be real?
Subject and grade level 8th Grade
Time frame and duration November 16, 2010 - December 4, 2010 (214 Stock)

question

Community and Service • imagination

• confidence
• helping others
MYP unit question
What does it mean to be real?
Assessment
• Students will write in their developmental workbooks

o Keep a weekly log of participation
o Record vocabulary
o Sketch plans
o Write a story outline
Three drama tools
o Voice
o Body
o Mind
5 drama focus words

• Concentration
• Imagination
• Transformation
• Imitation
• Cooperation
Vocabulary
Formal Theatre
Informal Theatre
Daily Questions
• Why is transformation, imagination and imitation important in drama?
• How does concentration, imagination and listening help you in improv?
• How can I make a story come alive?
Games that we have played

• This is not a ruler. It is a …
• Yes, yes, yes and that’s great!
• Animal Concentration
o Bunny
o Elephant
o Donkey
• Pass the Clap
• Kitty in the Corner
• Take a Hike
• 1,2,3 (substitute a number)
Final Assignment
o Students read the children’s book The Velveteen Rabbit.
o They discussed the book.
 Who are the important characters?
 What is the theme?
 Is there a moral code that we can see in this book?
o Students will get into groups of 4 to 5 students.
o They will assign each other a role.
 Scribe
 Story teller
 Actor 1
 Actor 2
 Actor 3
o They will then work together to determine the sequence of the story. They will practice
retelling the story using language A or B.
o They will participate in the game whoosh, whoosh.
 Class will sit in the drama circle
 Teacher will model verbally telling the story using inflection and adding details
 While teacher tells the story students will take turns coming into the middle of the
circle and transforming their bodies into the characters. They will act the story
out.
 When the teacher says Whoosh, Whoosh, all of the students will shout “get off
the stage” and the actors will go back to their seats
 This will continue until the entire story is told.
o Students will then get into their groups and practice retelling the story to their groups
members.
 They will practice in front of the class and receive feedback.
 They will return to their groups and practice again.
 They will perform a final time.
o Groups who choose will perform their story for Kindergarten- 3rd grade students.
• Demonstrate how behavioural patterns, vocal and physical rhythm are used to
communicate character emotions.
• Describe how the body is used to reveal character.
• Enact an improvised story.
• Understand how actors use body, mind, and voice to portray characters.

Content
question?
drama/theatre.
WIDA
ELP Standard 1: Social and Instructional Language, Formative Framework.
Students will be taking notes in their developmental notebooks and using brainstorming Techniques to gain
knowledge into MYP question. Students will be digging into their own history to create setting and
characters. Students will be developing their concentration by playing a variety of drama games.

o Students will assess themselves daily to gage their
• IB Unit Question will be posted and students own participation level and engagement
will reflect what they are learning in their DW.
o Teacher will walk around, observe students and give
• Each student will be given a rubric and know immediate feed back
exactly what is expected of them
o Teacher will respond to students’ developmental
How will students acquire the knowledge and practise notebooks
the skills required? How will they practise applying
these? What different teaching methodologies will we employ?
o Teacher will lead students in a variety of • Modelling

drama warm up games
o Teacher will allow students opportunity to work • Student directed projects
in groups and perform/ get feedback from a
partner • Teacher led discussions
o Whole group instruction and classroom share-
out • Student lecture/ presentation

we know?
we made provision for those learning in a language other than their
educational needs?
Yes. I have had these students for two Throughout the unit the instructional strategies are
varied. Students participate in class discussion, small
years in drama. They have been trained
in basic drama skills. I will review and group discussions and partner discussions. They have
opportunities to show what they know by writing, sharing
asses what they know on the first day of
or performing. During the final presentation students
class. are given the opportunity to choose a role that fits their
learning needs.
• Students who are learning in a language other than their
mother tongue will be encouraged to work in the
language they are most comfortable. They can meet the
drama objectives in any language. They may also
discuss what they are doing with a peer that speaks their
own language.
• Students with special needs will be given time to think and

formulate an idea. They will be able to speak with a
friend and share out their ideas. No one will be forced to
perform in front of the class or placed in a situation that
they are uncomfortable. They will be asked to leave
their comfort zone at their own pace.
Resources
• Developmental notebooks
• Pen and paper
• Bag of props
Drama class will take place in the classroom. The desks or tables will be moved to the side when we play the drama games.
What did we find compelling? Were our disciplinary knowledge/skills challenged in any way? I was very proud of these
students. They worked hard to prepare these stories and did a fantastic job performing for the younger students. The
performances were short and did not take much time and so the classroom teachers welcomed the students. The students
were able to perform the story in two different languages which was helpful to our Spanish speaking students. This story was
chosen because the younger students were going to attend a play based on the book. The older students were able to help
prepare the little one in a language most could understand.
How can I continue to bring the older students to the younger ones? Both sets of students responded well to this activity and it
let the 8th graders feel successful. They wanted to do it for all the classrooms.
How did we reflect—both on the unit and on our own learning? The students debriefed after performing for the younger
students, they shared out as a class, gave each other feedback and wrote in their developmental notebooks.
action? Communicators- these students worked very well together. They practiced, gave each other appropriate feedback and
confidently communicated the story to the younger students.
• Collaboration was not used for this unit.
• Character development
• Concentration
• Cooperation
• Story elements
Assessment
• Drama games
• Class discussions
• Written scripts
• Final performances
• Developmental workbooks.
Students received copies of the assessment criteria at the beginning of the month. We discussed what was expected and
checked for understanding.

Students are ready for the next stage. I cannot wait to see which students continue with drama when they get into high school.
Data collection
• Developmental workbook entrees

o It was useful. It helped me understand what the students were engaging in and what was
not connecting with them.
Figure 12
MYP unit planner
MYP unit planner
Unit title Scissorhands
Teacher(s) Rosanne Boutin / Christine Platzner
Subject and grade level Grade 8 Film Studies/ Grade 8 Language Arts
Stage 1: Integrate significant concept, area of interaction and unit question

Human Ingenuity In studying literature, the genre of horror

provides an interesting look at humanity:
we see the power of fear, and what it can
do to communities and individuals. Fear
intrigues us because we are scared of what
we do not understand. We see how
monsters function as tools of fear, and also
as empathic, humanized beings with
thoughts and emotions. Horror often
employs tools of surprise and suspense in
film, but also explore the supernatural and
unknown.
MYP unit question
How is the genre of horror used as a lens

into our human fears?
Assessment
The Creative Work: the three options (8 sentence paragraph) ( 4 – 6 pages)( 5

paragraph Essay)
EITHER:
Film Journalism
The candidate will produce between a piece of film journalism, possibly differing in length,
up to a maximum of 2000 words in total. The pieces of journalism should be for intended
publication in named magazines or newspapers, student magazines, fanzines or websites.
Each piece should be based on a film critical approach – for example, one related to the
subject of the small-scale research project (authorship in its broadest sense,
stars/performance, genre, aspects of film technology, social and/or political context or
aspects of distribution and exhibition, whether local or national). In this way the film
journalism will clearly demonstrate the application of film studies learning.
The candidate should identify a publication and a target audience for the piece.
OR
Screenwriting
The candidate will produce either
a synopsis (approximately 200 words) for a feature length film together with the
screenplay for a section (approximately 1800 words) of the film or
a complete screenplay (approximately 1800 words) for a short film.
The screenplay should not exceed 1800 words, including both dialogue and
directions/visual information. The standard conventions of screenplay writing should be
observed. Work produced for this unit will be expected to meet higher standards than
screenwriting produced in FS1. The emphasis for this option in FS4 is on screenwriting
skills.
The screenplay will clearly demonstrate the application of film studies learning.
OR
Film/Video Making
The candidate will produce either
a synopsis (approximately 200 words) for a film, together with a three to five minute
film/video extract from the film or
a complete short film of between three and five minutes in length.
The film/video will clearly demonstrate the application of film studies learning.
Group work
While a candidate may produce the film/video without support, it is more likely that it will
be produced in small groups. In this case, a maximum of four candidates may be
assessed within a group – each of whose contribution must be clearly identifiable for
assessment purposes. If, for example, a group of four divides responsibilities in terms of (i)
direction,
(ii) cinematography, (iii) editing, (iv) sound, then for both the aims/rationale and
evaluation sections, each candidate is expected to discuss the work of the group and their
own individual specialist contribution. If there is some overlap in the roles taken, then
candidates must focus their evaluation on the dominant contribution that they have made. In
some cases, collaborative work may lead to some students ‘helping out’ while not being
assessed at all.
Assessment of the quality of the product will include some direct observation by the teacher
of the group working together. Credit should be given for creative or organizational skills
within the group.
At the end of the course, students should be able to:

o demonstrate knowledge and understanding of the art form studied in relation to societal, cultural, historical and
personal contexts
o demonstrate knowledge and understanding of the elements of the art form studied, including specialized
language, concepts and processes
o communicate a critical understanding of the art form studied in the context of their own artwork.
Criteria A, B, and C
Stage 2: Backward planning: from the assessment to the learning activities

through inquiry
Content
What knowledge and/or skills (from the course overview) are going to be used to enable the student to respond to the unit question?
What (if any) state, provincial, district, or local standards/skills are to be addressed? How can they be unpacked to develop the significant
concept(s) for stage 1?
Alberta Curriculum:
Knowledge:
Students will:
 Develop an understanding and appropriate usage of the terminology/language specific to the film industry
 Understand the difference between various film genres (8)
 Understand the use of film techniques
 Comprehend and respond critically to the content of films.
Attitudes
Students will:
 Develop an appreciation for the cultural influences on film
 Develop an appreciation for a variety of genres outside their realm of experience and preference
 Reflect upon and appreciate the contribution of different films and directors’ work to the industry and society
Alberta Curriculum:
• Understand the parallels between film text and other text (plot, character, theme, point of view, setting)
 Comprehend and respond critically to the content of films.
 Apply knowledge of techniques to project-based work
 Incorporate feedback into products and processes
 Understand the difference between authorial and directorial choices
Skills
Students will:
 Demonstrate their ability to differentiate between film review and film criticism
 Apply their knowledge of film techniques in project-based work
 Analyse and discuss the themes of films
 Offer formal criticism of films orally and in written form
 Use various means (graphic organizers, diagrams, presentations) to illustrate the commonalities among a director’s body of work

How will we use formative assessment
How will students know what is expected of them? Will they see examples, rubrics, templates? to give students feedback during the
How will students acquire the knowledge and practise the skills required? How will they practise unit?
applying these? What different teaching methodologies
Do the students have enough prior knowledge? How will we know? will we employ?
How are we differentiating teaching and
learning for all? How have we made
provision for those learning in a
language other than their mother
tongue? How have we considered those
with special educational needs?
Elements of Film - Frontload Student organize these ideas in

their developmental workbook.
Students will be engaged in learning about the form, structure and meaning of
film. Students will be frontloaded in these areas found on this website
Formative Assessment: Cut compelling
http://www.pbs.org/wgbh/masterpiece/learningresources/fic_language.html pictures from magazines, then explain what
techniques make them that way. See if you
can find examples that illustrate each kind
The students will learn about perspective through the lesson plan – city of cranes. of camera shot listed in the Glossary.
Introduction of Genre of Horror L1:Assessment: Students will be

organized in groups to
Frontloading categorize the examples on the
Lesson 1: Preparation: Students will be introduced to the genre of horror. At the board in a semantic web.
beginning of class, students will view images of different characters in pop culture
and literature. They will be asked to rate on a scale of 1-5 the “Fear Factor” of the
image. They will be asked to justify why or why not each image is an image of
horror. (Images and prompt provided at the end of lesson.) The teacher will lead
a brief discussion asking students for definitions or examples of “horror”. As the
class provides examples, the teacher will collect these examples on the board.
Then, the teacher will ask students if they see any connections between any of
the examples provided, and if these examples can be categorized or organized.
A working definition will be introduced.
Lesson Two: In preparation for Edward Scissorhands, students will consider the
differences between a perceived horror, and the perspective of an actual horror
(or figure of horror). L2: Practice: Students will form
groups of four. They will be
This lesson should promote discussion and critical thinking by use of familiar asked to use their
horror examples: what creates a horrific atmosphere in films? What naturally understanding of archetype and
scares us? How could something familiar scare us? These questions should the horror genre to create a
segue into the next topic of discussion, the archetypes of horror. Primarily, the scene from a horror story. They
teacher should use the students as a resource to provide definitions, but the may use whatever resources
following can be considered a working definition: they have in the room:
Archetype is defined as the original model of which all other similar persons, magazines to create a collage,
objects, or concepts are merely derivative, copied, patterned, or emulated. The markers to draw a scene.
term is often used in literature, architecture, and the arts to refer to something that Students should address the
goes back to the fundamental origins of style, method, gold standard, or physical archetypes discussed in class
construct. as a basis of their final work.
The following concepts should be addressed: Groups will be asked to share
Monster- This is the person/ being/ object that strikes fear into the community, or their visuals and explain how
is shrouded in mystery. Often misunderstood? (examples include: Grendel, the they incorporated the concepts
Loch Ness monster, Frankenstein’s monster, Dracula) of a horror genre.
Hero- the character willing to confront the monster or the unknown
Setting- the place where the story takes place- how does this add to the story, Give Definition and Vocabulary
and how is it like a character? not familiar to ESL students in
Fear- What is the source of fear in the community that creates a monster? advance or pair them with a
Examples of fear within the horror genre can stem from psychological horror, strong language person.
physical horror, fear of the unknown/ unnamed.
Students will then add to the semantic map by identifying archetypes within the L2 Evaluation: Student’s
horror genre. evaluation will be based on
participation in discussion,
completion of semantic map,
Lesson 3: Using the previous day’s lesson on horror, students will build upon this and participation in creating the
knowledge with an introduction to the narrative structure of Freytag’s triangle. visual. Group work will be based
Students, after being introduced to the narrative structure of story, will impose the on addressing the themes
theme of horror within the structure by following Freytag’s triangle to complete a discussed, and explaining them
story map in which words (monster, dark, bright, love, alone, creation, to the class.
destruction, evil, good, kitten, popcorn, balloon, water gun, boot, shirt, axe,
poison) and images (an old house, a night sky, a dark forest, ballet shoes, a fruit L3: Assessment: Students will
basket, and a dog) inside. draw an image or word from
their envelope at random and
will use it to support the plot of
Lesson 4: Then the teacher will begin the day’s lesson on symbols, motifs and
their horror story. Using these
dichotomies as taught and understood through color marking as a strategy for
images, students will construct a
effective reading. The teacher will generally explain the definitions of motifs,
plotline based on their
symbols and dichotomies and explain why they are recorded and observed in the
understanding of horror and
study of a given text. The teacher will explain them as such:
Freytag’s triangle.
Motif- In literature, a reoccurring image, word or phrase, action, idea,
objects or situation that appears in various works or throughout the same
work. Within the genre, this motif refers to the theme and within the same
L4: Practice: In groups of three,
work refers to repetition, which strengthens a feeling or impression that
the students will complete the
surrounds the text. Motif will function in both ways during these lessons.
chart “Dichotomous
Symbol- broadly, it is anything that signifies or stands for something else.
Relationships in Letter 1 of
With this text, it will function as the “impression” or meaning behind the motifs.
Frankenstein” in order to
Dichotomy- refers to the division of two contradictory thoughts, ideas, or
observe the use of juxtaposition
opinions into two equal categories.
and contrast in the creation and
continuation of motifs in a piece
The teacher will introduce the first letter from Frankenstein and briefly explain that
of text. The students will also be
they will be using this text to understand the new vocabulary as well as see how it
applies in horror as a particular genre. required to find another
Presentation: Then the teacher will explain color marking as a dichotomous relationship in the
reading/comprehension strategy. He/she will distribute highlighters to the letter and record the supposed
students and ask them to use their new understanding of motifs and importance of the symbols
dichotomies to mark in different colors any objects, words, phrases or presented. The class will share
ideas that are repeated throughout the text. The students will read the text findings and interpretations of
individually marking any dichotomous motifs they perceive with the symbols. The teacher will lead a
highlighters. discussion on the importance of
motifs to follow or track themes
in a text.
Then as a bridge to a discussion
on the following day in which
Edward Scissorhands is
introduced as the primary text
for analysis, the groups will
answer three questions and
keep them for discussion. These
questions serve to introduce
important motifs in the monster
myth in relationship to
Frankenstein and to horror as a
genre. The students will answer:
1.What can you infer
about the importance of
these relationships in
the rest of the novel?
2. What, if any,
connection can you
make between these
relationships and the
horror genre, as
previously discussed?
Lesson 5: Teacher will show the trailer from Edward Scissorhands that advertises 3. What other
the movie and will ask the students to identify dichotomous motifs found in relationships might you
analysis of horror as a genre as well as to brainstorm a list of other possible expect from this genre?
motifs based on the title. The teacher will explain the director’s use of imagery to
display motifs and ask the students to look for motifs, which may contain the Evaluation:
following dichotomies: summer vs. winter, the use of color vs. black and white, The day’s activities will be
man vs. machine, creator vs. creation and the image of hands vs. claws, etc. assessed based on student
Once the students have brainstormed these dichotomies, they will use their prior engagement during reading, the
knowledge of the genre and of the film to anticipate the way the director might extent to which he/she
employ these motifs in his film. Later, as the students view important scenes completes the color marking and
containing these symbols, the teacher will stop the film and discuss the uses. the collaboration with group to
complete chart and questions.
L5: The teacher will hand out

the “Dichotomous Motifs” log
and ask the students to put their
predictions on the sheet
underneath the symbols in the
left-hand column. The teacher
will tell them to look for these
symbols and motifs as they
Lesson 6: Christine Platzner (Language Arts teacher) watch the film. The chart will
essentially serve as a “color
The students will complete the first portion of the Response to Edward marking” activity for the viewing
Scissorhands handout individually. They will share their response with a partner of the film in which students
and several examples will be shared with the whole class. notice symbols as well as the
The teacher will review the definitions of the five literary elements as they have relationship of the symbols. The
related to traditional texts used in the classroom. completed chart will be
o Characterization: the method used by a writer to develop a discussed and evaluated after
character. viewing the film. The students
o Setting: the time, the place, and the social environment that will be asked to look for other
frames the characters; can be used to evoke a mood or symbols or motifs not listed on
atmosphere that will prepare the reader for what is to come. the handout and list them on the
o Point of View: who tells us the story, (narrator) and how it is back of the sheet. Assessment
told. In literature, POV can be divided into two broad of chart will be completed after
categories: first person POV and third person POV. In film, POV completion of film.
can be omniscient, restrictive, disengaged, or a mixture of them.
o Tone: the author's attitude toward the subject matter, can be
revealed through literary elements such as setting, dialogue,
conflict, and plot.
o Irony: the literary technique that involves surprising, interesting,
or amusing contradictions.
 Verbal irony: when the writer or speaker says one thing
but really means something different. Sarcasm usually L6: Evaluation: Students will
fits this category. receive an individual grade for
 Situational Irony: when the character(s) and the the topicality of their written
audience expect one thing to happen and the opposite responses on the handout, as
actually happens. well as a participation grade for
 Dramatic Irony: when the reader or audience knows working cooperatively with a
something the character(s) does not know. partner to complete the chart.
With a partner, the students will complete the second portion of the Response to
Edward Scissorhands handout, combining their responses to fill in the five
categories in the literary element chart.
The teacher will lead a whole class discussion, during which the students will
share examples they recalled along with their personal responses to the
examples.
The students will view selected scenes that further illustrate each literary element,
recording the description and developing a personal response on the third portion
of the Response to Edward Scissorhands handout.
o Characterization: show 22:53-23:15
o Setting: show 15:44-16:35
o Point of View: show 4:10-5:17
o Tone: show 31:25-36:46
o Irony: show 8:00-11:00
The teacher will lead a whole class discussion, during which the students will
begin to describe how they believe the film leads them to be able to analyze the
chosen scenes in terms of each chosen literary element (the technical vocabulary
will follow in tomorrow’s lesson).
Lesson 7:
The teacher will select examples from yesterday’s lesson to review the literary
elements and: characterization, plot, point of view, tone and irony.
• The teacher will introduce students to the technical vocabulary to be used
in analyzing the cinematic techniques used in the film (definitions come
from Appendix A of John Golden’s Reading in the Dark). The teacher will
do this using the rolled paper technique that Golden describes in his book
(pp.1-25).
o Framing/Shot
o Focus
o Camera Angle
o Sound
o Camera Movement
o Lighting
o Editing
• The students will view the scene in which Edward first eats dinner with
the family (24:23-26:23). This scene was chosen for its ability to combine
many of the literary elements. It is also a simple scene to which the
students can begin to understand how to combine their analyses to
include literary elements and cinematic technique. They will use the
Scene Viewing Guide to watch the scene, and then evaluate their own
responses as the teacher does a think aloud.
• The students will view two longer sequences of scenes that come at the
beginning and end of the movie. They will independently fill out one
Scene Viewing Guide for each sequence. L7: In order to demonstrate the
o Peg Welcomes Edward into Her Home (17:53-22:52) ability to apply the function of
o Edward Becomes Angry (1:11:10-1:13:35) cinematic techniques in
developing literary elements, the
• With a partner, the students will answer the final question on the Scene students will select a scene from
Viewing Guide. Examples will be shared with the class in a whole class the movie to analyze for three of
discussion. the six elements. In groups of
three, they will write a three-
paragraph scene guide (one
Preparations for the Summative Assessment begin. element per paragraph) to
present to the class.
Each group member will receive
an individual grade for his/her
one-paragraph literary element
analysis, as well as a group
grade for the continuity of the
scene analysis and the
presentation.
Resources
How will our classroom environment, local environment and/or the community be used to facilitate students’ experiences during the unit?
http://www.amdoc.org/outreach_filmlibrary.php
http://education.alberta.ca/teachers/resources/connection/archive/may2007/curriculum/fineart/resource.aspx
action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP Unit Planner
―A world-class community of proud and outstanding achievers.‖
Unit title Western Music – Classical and Popular Music
Teacher(s) Herry Rajasa (T and I), John Legoh, Hary W Yuniarta, Sadrakh Hutapea ( I )
Subject and grade level Music / 9
Time frame and duration January- June 2010

question

Which area of interaction will be our focus? What are the big ideas? What do we want our students to
Why have we chosen this? retain for years into the future?
Approach to Learning Student will learn about how to develop

Students will learn how to organize, collaborate, inter-cultural awareness and to become
reflect and communicate on most of the project more open minded
Students experiences how to collaborate in
Human ingenuity
presenting music research as well as music
Students will learn how to create, performance
performing and presenting music from
their own original idea using musical form Students to be able to learn music technology
in creating and composing music
MYP unit question
How does my artwork show Western Music?
Assessment
Group Investigation Report/Slides Presentation and Individual Booklet Report about Classical vs
Popular music
Theory/Notation and History Written Quiz/Test
Singing a Popular song (Solo and Group) and Perform a Classical Instrument Tune (Solo)
Create a Composition using musical form e.g. AABA and Finale software technology
Perform own Composition with instrument learnt
Daily reflection to Journal/blog and summarize it into Developmental Workbook?
Which specific MYP objectives will be addressed and how during this unit?
Demonstrate knowledge and understanding of the art form studied in relation to societal, cultural,
historical
Develop an idea, theme or personal interpretation to a point of realization, expressing and
MYP Unit Planner

Show commitment in using artistic processes


Content
question?
Western Music History; Research Skills and Presentation Skills

Notation Reading and Creating/Composing Skills using Finale
Performing Singing and Performing Playing Instrument
Group Slides Presentation - organizational skill, Collaboration, Reflection and Communication

Individual Booklet Task  organization skills, Reflection
Singing and Solo Instrument Performance  Organization skills, Reflection and Communication
Creating and Perform Own Composition Organizational skills, Reflection and Communication
Using Finale in writing composition organization skills, Reflection and Communication
Reflection on Journal, Blog and MDW Organizational skills, Reflection

they see examples, rubrics, and templates?
the skills required? How will they practise applying How are we differentiating teaching and learning for all? How have we
these? made provision for those learning in a language other than their
Do the students have enough prior knowledge? How educational needs?
will we know?
MYP Unit Planner
Internet Resource Research Task Discussion

Assessment Rubric/Criteria Lecturing
Individual and Group Task Rehearsal Playing, Performing and Rehearsals
Individual Self Reflection on journal and Quiz
Teacher’s observation during
Self-Assessment on their own performance progress
class/instrument’s session
Reflection and Feedback put on the blog
Teacher’s sample of performance
Resources
the unit?
Internet Resources (e.g. Youtube.com)

Books, The Usborn Introduction to Music – Eiken Obrien.
Musical Instruments
Samples from Music Teacher’s playing/performance

action?
Assessment
How did the assessment tasks allow students to demonstrate the learning objectives identified for this unit? How did I make sure
Data collection
How did we decide on the data to collect? Was it useful? What does it tell us?
MYP Unit Planner
MYP Unit Planner
Unit title Western Music – Jazz Genres and Styles
Teacher(s) Herry Rajasa (T and I) John Legoh, Hary W Yuniarta, Sadrakh Hutapea ( I )
Time frame and duration January- Mar 2010

question

Approach to Learning Student will learn about how to develop inter-

Students will learn how to organize, collaborate, cultural awareness and to become more
reflect and communicate on most of the project open minded
Human ingenuity
their own original idea
MYP unit question
What is Jazz!
Assessment
Group Investigation Report/Slides Presentation and Individual Booklet Report

Singing and perform a Jazz song (Solo and Group)
Create Melody Improvisation using Jazz/Blues Scales on 12 Bar Blues
Daily reflection to Journal/blog and summarize it into Developmental Workbook?
Demonstrate knowledge and understanding of the elements of the art form studied, including
specialized language, concepts and processes
Use feedback to inform their own artistic development and processes
Demonstrate curiosity, self motivation, initiative and a willingness to take informed risks
MYP Unit Planner


Content
question?
What (if any) state, provincial, district, or local standards/skills are to be addressed? How can they be unpacked to develop
the significant concept(s) for stage 1?
Research Skills and Presentation Skills

Notation Reading and Creating/Composing Skills
Group Slides Presentation- organizational skill, Collaboration, Reflection and Communication

Individual Slides Presentation  organization skills, Reflection
Singing Performance  Reflection and Communication
Solo Instrument Performance  Organizational skills, Reflection and Communication
Group Music Performance  Organizational Skills, Collaboration, Reflection and Communication

these? we made provision for those learning in a language other than
their mother tongue? How have we considered those with special
will we know?

Assessment Rubric/Criteria Lecturing
MYP Unit Planner
Individual and Group Task Rehearsal Playing, Performing and Rehearsals

Individual Self Reflection on journal and Quiz
Self-Assessment on their own performance progress
Reflection and Feedback put on the blog
Teacher’s sample of performance
Resources
during the unit?

Musical Instruments

In keeping an ongoing record, consider the following questions. There are
further stimulus questions at the end of the “Planning for teaching and
learning” section of MYP: From principles into practice.
action?
Assessment
Data collection
MYP Unit Planner
MYP Unit Planner
Unit title Asian Music
Teacher(s) Al Fernandez, John R Legoh, Hary W Yuniarta, Sadrakh Hutapea
Time frame and duration January- June 2010

question

Approach to Learning Student will learn about how to develop inter-

Students will learn how to organize, collaborate, cultural awareness and to become more
reflect and communicate on most of the project open minded
Human ingenuity
their own original idea
MYP unit question
How does my Artwork show Asian Music?
Assessment
Singing Asian song

Investigation Report/Slides Presentation
How to Create Melody Related to Pentatonic Scale
How to apply and play own creation melody with instrument
How to fill in daily reflection to blog and summarize it on Developmental Workbook?
Demonstrate knowledge and understanding of the art form studied in relation to societical, cultural,
historical or personal contexts
Give an informed description of the progress they have made so far and identify strategies to
develop and improve their artistic processes
Demonstrate curiosity, self motivation, initiative and a willingness to take informed risks.
MYP Unit Planner
MUSIC PE
Develop skills and apply the techniques and Link movements in order to compose
processes involved in creating, performing aesthetics sequences, taking into account
and/or presenting art. the concepts of space, time, level, force
Articulate an idea, theme or personal and flow
interpretation to a point of realization Show respect and sensitivity to their own
and different culture
Criterion A: Knowledge and Understanding Criterion B - Movement Composition:

Criterion B: Application Criterion D - Social Skill and Personal
Criterion C: Reflection and Evaluation Engagement

Content
question?
What (if any) state, provincial, district, or local standards/skills are to be addressed? How can they be unpacked to develop
the significant concept(s) for stage 1?
Research Skills and Presentation Skills

Notation Reading and Creating/Composing SKills
Group Slides Presentation- organizational skill, Collaboration, Reflection and Communication

Individual Slides Presentation  organization skills, Reflection
Singing Performance  Reflection and Communication
Solo Instrument Performance  Organizational skills, Reflection and Communication
Group Music Performance  Organizational Skills, Collaboration, Reflection and Communication

MYP Unit Planner
these? we made provision for those learning in a language other than

their mother tongue? How have we considered those with special
will we know?

Assessment Rubtic/Criteria Lecturing
Individual and Group Task Rehearsal Playing and performaing
Individual Self Reflection on journal and Repetition
Self-Assessment and individual journal
Reflection and Feedback
Resources
during the unit?

Musical Instruments

In keeping an ongoing record, consider the following questions. There are
further stimulus questions at the end of the “Planning for teaching and
learning” section of MYP: From principles into practice.
action?
Assessment
MYP Unit Planner
Data collection
MYP unit planner
Unit title AABA
Teacher(s) Salisbury
Subject and grade level Music 8
Time frame and

3 weeks – 40 minute classes
duration
Stage 1: Integrate significant concept, area of

interaction and unit question

Human Ingenuity Students will start to understand how

composers use musical elements to
create new compositions
MYP unit question
How do composers create new compositions?
Assessment
What will constitute acceptable evidence of understanding? How will students show what they have
understood?
Students will perform Changing Places on the xylophone – a composition in AABA form
Students will create and notate a melodic AABA composition using the xylophones – students
will be assessed on their piece based on a given rubric
Students will perform their composition – students will be assessed on how closely their
performance matches the written composition
Demonstrate knowledge and understanding of the elements of the art form studied, including
specialized language, concepts and process
Apply skills, techniques and processes to create, perform and/or present art
Use feedback to inform their own artistic development and processes
Support, encourage and work with their peers in a positive way
A, B, C, D
Stage 2: Backward planning: from the assessment to

the learning activities through inquiry
Content
What knowledge and/or skills (from the course overview) are going to be used to enable the student to
respond to the unit question?
What (if any) state, provincial, district, or local standards/skills are to be addressed? How can they be
unpacked to develop the significant concept(s) for stage 1?
Students perform Changing Places on xylophones

Students rhythmically and melodically improvise four beat answers
Students create a new composition using Changing Places as a model
Students perform and record their compositions
Students reflect on their composition and performance
25.B.3 Compare and contrast the elements and principles in two or more art works that
share similar themes
26.A.3c Describe the processes involved in composing, conducting and performing
26.A.3d Read and interpret traditional music notation in a varied repertoire
How will this unit contribute to the overall development of subject-specific and general approaches to learning
skills?
Students will continuously reflect in their DW. Students will collaborate with a partner when
creating their compositions. Students will organize their composition into a prescribed form
AABA.
How will we use formative assessment to give students
How will students know what is expected of feedback during the unit?
them? Will they see examples, rubrics,
templates? What different teaching methodologies will we employ?
How will students acquire the knowledge and How are we differentiating teaching and learning for all?
practise the skills required? How will they practise How have we made provision for those learning in a
applying these? language other than their mother tongue? How have we
considered those with special educational needs?
Do the students have enough prior knowledge?
How will we know?
Students will learn a composition that is Formative assessment – class discussions,

in AABA to use as a model. By learning student writing in DW, teacher observation
this composition on the xylophone,
Teaching methodologies – Providing a model,
students will develop their instrument
peer collaboration, class discussions, verbal
skills.
feedback, teacher responses in DW
Weaker students will be paired with stronger
Students will be given a rubric to guide students
the creation of their composition.
Rubrics provided
Resources
Copy of Changing Places

Xylophones
composition template and pencils
Recording device
Adequate time given for students to create composition and practice for performance
In keeping an ongoing record, consider the following questions.

There are further stimulus questions at the end of the “Planning
for teaching and learning” section of MYP: From principles into
practice.
Which attributes of the learner profile were encouraged through this unit? What opportunities were there for
student-initiated action?
How successful was the collaboration with other teachers within my subject group and from other subject
groups?
Assessment
How did the assessment tasks allow students to demonstrate the learning objectives identified for this unit?
How did I make sure students were invited to achieve at all levels of the criteria descriptors?
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title Music Tells a Story
Subject and grade level Music - 6th
Time frame and

1 three week cycle – 40 minute classes
duration


Health and Social Education Students will explore the meaning

behind simple folk song lyrics and
Human Ingenuity
discover why musical elements are
chosen to convey emotions
MYP unit question
How can music tell a story?
Assessment
understood?
Students will create a rhythmic accompaniment to Fed My Horse in a Popular Trough using
either quarter rest, quarter, eighth, sixteenth, or half notes.
Students will orchestrate the accompaniment with appropriate instrumentation to convey
desired mood.
Demonstrate knowledge and understanding of the art form studied in relation to societal,
cultural, historical and personal contexts
Apply skills, techniques and processes to create, perform and/or present art
Demonstrate curiosity, self-motivation, initiative and a willingness to take informed risks
Support, encourage and work with their peers in a positive way
A, B, D

Content
What knowledge and/or skills (from the course overview) are going to be used to enable the student to respond
to the unit question?
Students will continue to prepare and practice the basic rhythmic and melodic music elements
Students will reflect on the teacher's choice of accompaniment for Pourquoi
Students will develop an instrumental accompaniment that enhances the mood of Rocky
Mountain and explain why they selected a particular instrument
Students will reflect on Haydn's use of musical elements in Symphony No 94 mvt 2
Students will create partial lyrics to Do, Do Pity My Case
skills?
Students will communicate their ideas through new lyrics to a folk song. Students will reflect
in their DW. Students will collaborate with other students to create an accompaniment.

How will we know?
Students will experience a variety of folk Formative assessment – observation, student

songs that either tell a story or convey an verbal and written responses, class discussions
emotion
Teaching methodologies – Providing listening
Students will evaluate teacher's choice of examples, open discussions, peer collaboration
accompaniment before they select an
Evaluation of student responses in DW will guide
accompaniment
instruction
Students will write reflections in DW so
teacher can monitor student progress
Resources
Instruments – piano, autoharp, drums, xylophones

DW and pencils
CD player – recording of Haydn's Symphony No 94 mvt 2

practice.
groups?
Assessment
Data collection
Figure 12
MYP unit planner
MYP unit planner
Unit title Unity through Drumming
Subject and grade level Music 7th grade
Time frame and

1 cycle – 40 minute class periods
duration


Power of working together

Community Smaller parts combining to form
larger piece
MYP unit question
How can drumming unify a group of people?
Assessment
understood?
Students will record an African drumming ensemble piece. Students will reflect in their
Developmental Workbooks regarding the process and the final result.
MuC.1 Reflect critically on their own artistic development and processes at different stages of
their work.
MuC.2 Evaluate their work.
MuC.3 Use feedback to inform their own artistic development and process.
MuD.3 Support, encourage and work with their peers in a positive way.
MuD.4 Be receptive to art practices and artworks from various cultures, including their own.
Criteria C and D

Content
What knowledge and/or skills (from the course overview) are going to be used to enable the student to
respond to the unit question?
Students learn individual drumming parts using half, quarter, eighth, sixteenth, dotted
eighth, and quarter triplet notes.
Students will combine individual parts to create a larger piece.
Students will improvise four and eight beat rhythmic patterns.
Students will learn Obwisana, a melody from Ghana.
Students will use various tempos and dynamics to add interest to performance.
25.A.3c Identify and describe changes in elements and expressive qualities (e.g., crescendo,
ritardando, fermata, meter, sfozando).
26.A.3c Describe the processes involved in composing, conducting and performing
26.A.3d Read and interpret traditional music notation in a varied repertoire
26.B.3c Sing or play with expression and accuracy a variety of music representing diverse
cultures and styles
skills?
Students will continuously reflect in their DW. Students will work collaboratively with their
partner and other classmates in order to perform the ensemble. Students organize the
drumming parts so the composition has a beginning, middle, climax, and end.
How will we know?
Formative assessment – class discussions,

student writing in DW, teacher observation,
Students will be given a rubric to guide
verbal feedback, listening to recording of student
their reflection, evaluation, and personal
performance
engagement.
Students will learn the parts through non-verbal
Students have had experience reading,
echoing. Students will perform parts individually,
writing, and playing rhythms on
in small groups, and in a large group. Modelling
instruments from past years in music.
and student improvisation will be used. The
They will use these skills to ensure they
teacher will also respond in the DW.
are playing each part accurately.
Weaker students will be paired with stronger
Being able to play one part while many
students
others are occurring will demonstrate the
student can independently play their part Rubrics provided
without needing the assistance of a
model.
Resources
Drums, shekere, gankogui, cowbell – students will share the drums with a partner
Recording device, microphone, and stereo system

practice.
groups?
Assessment
Data collection
Figure 12
MYP unit planner
Mount Scopus Art Department Unit Title\ Theme : “ Break it down” Level: 8/9
MYP Unit Plan
Media: Mixed media- collage and drawing Date: Nov 08
Duration: 4 weeks Teacher: Betty

Areas of interaction: Health and Social ed.
Significant Concepts: Deconstruction – deconstruct ion of realism to and create abstracted artworks
MYP Unit Question: How do I perceive? How to the arts communicate life, joy, suffering?
Knowledge and Understanding Application Reflection and Evaluation Personal Engagement
Objectives - Objectives - Objectives - Objectives -

• demonstrate knowledge and • articulatean idea, theme or personal • give an informed description of the • show commitment in developing their own
understanding of the art form studied in interpretation to a point of realization progress they have made so far and identify artistic processes
relation to some aspects of societal, • develop skills and apply the techniques strategies to develop and improve their • demonstrate curiosity, self motivation,
cultural, historical or personal contexts and processes involved in creating, artistic processes initiative and a willingness to take informed
• demonstrate knowledge and performing and/or presenting art. • evaluate their work risks
understanding of some elements of the art • consider feedback when identifying • support, encourage and work with their
form studied, including strategies to develop and improve. peers in a positive way
some specialized language, concepts and
processes
• demonstrate an informed opinion of the art
form studied in the context of their own
artwork
• demonstrate knowledge and • articulatethe concept of deconstruction to • give an informed description of the • show commitment in developing their own
understanding of deconstruction in relation a point of realization progress they have made so far and identify artistic processes using drawing and
to Picasso’s Cubist works. • develop skills in drawing and mixed media strategies to develop and improve their collage.
• demonstrate knowledge and and apply the techniques and processes artistic processes • demonstrate curiosity, self motivation,
understanding of some elements of the involved in creating a deconstructed self • evaluate their deconstructed portraits initiative and a willingness to take informed
concept of deconstruction, including portrait. • consider feedback when identifying risks
understanding of symbolism and art strategies to develop and improve their • support, encourage and work with their
elements and principles deconstructed portraits peers in a positive way
• demonstrate an informed opinion of the
deconstruction in the context of their own
artwork
Outcomes Outcomes Outcomes Outcomes

• Students will complete design work based • Students will create a personal • Students will give an informed description • Students will show commitment in
upon the concept of deconstruction. interpretation of deconstruction which of the progress they have made so far and developing their own artistic processes
• Students will demonstrate knowledge and communicates aspects of themselves identify strategies to develop and improve using drawing and collage
understanding of f the concept of using a self portrait as a starting points. their artistic processes • Students will demonstrate curiosity, self
deconstruction, including symbolism via a • Students will develop skills in drawing and • students evaluate their work motivation, initiative and a willingness to
“Guernica” worksheet. mixed media collage and apply the • Students will consider feedback when take informed risks
• Student s will evaluate their own artwork in techniques and processes involved in identifying strategies to develop and • Students will support, encourage and work
terms of symbolism and use of creating a deconstructed self portrait. improve with their peers in a positive way
deconstruction.
Activities Activities Activities Activities
_ Lesson to discuss Picasso’s Guernica . Using collage and drawing create a . Annotation of developmental and trial work . Complete their individual deconstructed
and complete worksheet mixed media self portrait which reflects in dev. workbook portraits to a point of realization.
- Lesson on Picasso’s “ Weeping woman” a knowledge of Picasso’s use of • students evaluate their work in dev. - Lesson introductions reflecting upon
Portraits deconstruction. workbook specific students risk taking and initiative.
- Written evaluation of their work in the DW .Discuss and evaluate student works in • students will gather information from . Engage in peer assessment and work
progress in terms of strengths and lesson intro and apply this to their ongoing cooperatively in setting up and cleaning up.
weaknesses of art elements and principles evaluation. List of point on board for
and following the concept of deconstruction. direction
Assessment Assessment Assessment Assessment

- Design work in developmental workbook .An exhibition of student work with peer . Progressive annotation of design work . Task specific rubric
-Guernica worksheet specific rubric assessment. . Final written evaluation . Progressive annotation of design work and
-Evaluation in developmental workbook . Checklist of expectations – keep it . Final written evaluation identifying final written evaluation
personal, deconstruction, aesthetic strength alterations made in light of feedback. . Peer assessment.
write this in DW.
Interdisciplinary Links:
Approaches to learning: Reflection – through analysis and evaluation in the workbook. How do I evaluate my work and the work of others? Communication - of personal
ideas and reflections on peers’ work. Organisation - how do I plan and organize my work effectively? Meting deadlines, making appropriate use of class time.
Learning Experiences/Teaching Strategies:

Intro to Guernica – Discuss “ Weeping Students definition Develop design Explore media and Refine media and Complete Evaluate and frame
computer lab Woman” – reflect of deconstruction work into final draft. techniques and techniques in deconstructed self work with
this on our self Design brainstorm Reflect u[on peers’ reflect upon these terms of Art E and portrait. accompanying
portraits written and visual- approaches. regularly. P. evaluation.
deconstructed self
portrait.
MYP unit planner
Unit title Everyday object
Teacher(s) Kristina Rismondo
Subject and grade level Visual arts; MYP5

question

Human Ingenuity
Students will have to create a real object Basic geometrical shapes can be
that result from process that combines recognized in the structure of natural
imagination, nature, geometry and objects and industrial design.
functionality. For that kind if invention
Industrial design may be more functional
they have to go through the process that
if it keeps relation with nature.
involves innovation, creation,
development and change Every design is the result of the process
Students have to show awareness and
usually connected to imagination.
understanding of:
the processes involved in innovation,
creation, development and change
represented through the stages that
include brainstorming, sketches and
practical work in 3D
the individual desire to create,

develop or change everyday objects
MYP unit question
Where are similarities between everyday objects and

nature?
Assessment
Formative assessment
A range of practical activities are included here such as sketching and observational drawing. All those
activities are short-time and open ended tasks close to brainstorming. It is hard to evaluate such work
because of its skill-less and completeness character. In the preparatory stages of the final work, those
quick sketches and drawings have to be considered. Anyway, there is the way to evaluate those works
through the list of true-false questions checking their analytical, imaginative and conceptual quality. Those
open-task activities include:
Bisociation-tool sketching, geometrical translation of the observed object, visual analysis of the chair, and
homework analysis of the cup.
Summative assessment
Summative assessment includes evaluation of the cumulative activities including:
Developmental workbook, sketches and final product – the chair
During the process students have to compare natural and geometrical shapes on the level of proportions,
theme, material or shape through the process of imagination and imaginative thinking.
The purpose of the summative assessment is to moderate the student’s ability to develop an idea to point
of realization, expressing and communicating artistic intentions (Criterion B/Application) and reflect critically
on their own artistic development and processes at different stages of their work, and evaluation (Criterion
C/Reflection and evaluation)
There is also an important difference between formative and summative assessment because formative
assessment includes only individual practice whereas summative assessment has to put together individual
and group activities represented in final product and developmental workbook.

Reflect critically on their own artistic development and processes at different stages of their work.
(Through the ongoing record of their development, students should reflect on their experiences,
record their achievements and challenges that influenced their own practices and understanding)
Criterion B/Application
Criterion C/Reflection and evaluation

Content
question?
The unit is based on the 4 steps:
1. Observing/comparison
2. Sketching through the use of Bisociation tool
3. Practical work – 3D redesign of the everyday object
4. Evaluation
Observing
Students are introduced into the topic through the presentation that investigates the meaning and purpose
of product design. Students have to consider two basic elements such as: functionality and design. Design
is explained as process that has to put together the function, the shape and imagination. The comparison
considers photographies of unusual objects, industrial design and a chosen object in the classroom..
Bisociation tool
Different stategies of brainstorming are investigated to bring students till the final point of the
realization. One of the strategies is called Bisociation tool, invented by Victor Papanek, includes a
chosen object and six randomly chosen nouns that have to be related to form a new and unexpected
object. The brainstorming activity is filled with rational and practical activities based on individual work
and quick open ended tasks.
Practical work
This is a culminating stage of the topic, because students have to put together their sketches and
notes, compare them with colleagues works, find common solution and complete the whole thing
according to school facilities and recycled material. The final solution depends on student’s ideas,
school facilities and media.
Evaluation
Evaluation is the final part represented in the developmental workbook and presentation of student’s
works. Students have to use methods of comparison and analysis to evaluate their work.
ATL –connections through knowledge and skills across math, biology, design technology and visual
arts to create products and solutions.
The following skill area are included:
Collaboration – based on accepting other’s ideas and form the final work as result of few sketches
developed by a few students.
Reflection – self-evaluation with recorded stages in DW
Thinking – use of brainstorming for generating ideas, planning the work, identifying problems
(combining functionality and imagination); creating novel solutions considering problem (chair design)
from multiple perspectives.
Transfer – math, biology and visual arts during the project. Special link to environment because of use
of recycled material

we know?
During the process students get different open- Students have to create an useful object considering
ended tasks that have to be completed typical material and creative constraints such as
immediately. Through the short open ended facilities and skills. The realization of the project involves
tasks the whole project is sequenced till final two kind of activities – rational that include
work – design/redesign of the chair. brainstorming, association (bisociation) analysis and
comparison, and practical that includes different kind of
Most of the tasks are based on observation,
imagination more based on technical elements such as
some of them are structured within frames.
skills, material, facilities. All those activities can be
Prior knowledge is not relevant for this task. divided and evaluated separately in the form of
formative assessment. Interesting part of the topic is the
fact that all the stages of the process have the meaning
of the preliminary stages to the final work combining
individual work in the preliminary stage to the group
work in the final stage.
Formative assessment has to evaluate student’s works
not in the form of numerical grade but as supportive
data that helps teacher to counsel students and their
efforts.
Resources
the unit?
The idea for the topic is based on Viktor Papanek’s works such as book: Papanek, Victor (1971). Design
for the Real World: Human Ecology and Social Change, New York, Pantheon Books
Bisociation tool – Victor Papanek’s “Paper Computer” http://www2.uiah.fi/~tleinone/papanek.html
During the theory-classes some examples of product design are represented in the classroom such as
electric guitar known as: Fender Stevie Ray Vaughan Number One Tribute Stratocaster dated in 1963, and
portable media player iPod Nano, 2008. Those examples of functional objects were compared to visual
jokes – photographs from Photobucket.com
Other resources are recycled material, chairs and objects found in and around art classroom.
action?
Assessment
Data collection
Outline
The whole topic is based on product design, but priority is not on technical skill, media, functionality, or
aesthetic quality. Instead of that, the focus is on special way of thinking – kind of visual brainstorming.
Students had to use their imagination and cognitive skills to invent/recompose and shape an everyday
object – chair.
Unit question
Topic was meant as more focused on geometrical shapes, correlation with math and biology, but it went in
different direction, and unit question somehow lost its focus.
Why?
Perhaps the reason may be hidden between tool of the imagination (that directed the focus far from
rationality of the geometry), or recycled material for 3D practice (that awoke another way of thinking not
similar to principles that exists in nature).
Students had to be reminded on the unit question, and in their workbooks there are some answers like:
“Everything we need to make everyday objects we take from nature” or “the shapes, the colors, the
functions are similar to nature” or “some objects are made in ecological way”.
Those answers are probably the expected ones, but they do not depict the goal of the unit question.
Objectives
If we consider objectives:
• Develop an idea, theme or personal interpretation to a point of realization, expressing and

• Reflect critically on their own artistic development and processes at different stages of their work.
we would have to be more satisfied because of outcome. Most of the students achieve successfully
those objectives and we can be satisfied with the results, specially if we add the fact that all the final
work (3D chairs shaped and colored) was completed within time-frame of 5 school hours.
In the developmental workbook we could find what students think about development of the idea, or
their artistic development at different stages of their work, and that part is also interesting - to point out
some ideas:
“Even the simplest everyday objects demand a certain level of creativity and imagination. And
designing a usual everyday object but so it would look unusual, original is a real challenge. We need
to use a lot of imagination and put together things that are seemingly cannot be connected. Once we
have it in our head we need to use our imagination to find a way to make it a real useful object. So the
whole process from designing and sketching to actual creation of the 3D object requires a lot of
imagination”
or
“My challenges everyday are similar to this one. Constantly I have to create new things and this
project helped me with it.”
0r
“The theme and material affect the final design of the chair a lot because you are able to think of a
final design once when you know what materials are available to you.”
Or
“My own work can be improved in various ways. Before I started, I should have collected the materials
I will use and then think of a design of my chair, but I didn’t. We were gathering the materials during
the project and then we had to figure out what to do with them.”
Collaboration
As it was mentioned before, the topic supposed to be connected with other subjects such as math
and biology, but than it went in different direction – further from unit question, but close to objectives,
let us hope. Also, during the process the importance of the AOI Environment was becoming more and
more important.
Figure 12
MYP unit planner
AISL MYP Unit Planner
Unit Title A Visual Message
Teacher(s) Vandita Vanrjangbhay
Subject and Grade Visual Arts - Grade 10 (Year 5)
Level
Time Frame and 8 weeks
Duration
Stage 1: Integrate significant concept, area of interaction and unit question, and
ensure it can be assessed

Which AoI will be your focus? Why have you What are the big ideas? What do I want my
chosen this? students to retain for years into the future?
Community and Service

• Role of visual arts in the society
The students are going to be exploring social • How artists over the ages have articulated
commentary and statements in visual arts. How social commentary into their works
over the ages arts have been used as a media of • Creating meaning and function
communicating messages to and about the society
at large.
How would they address and express issues that

occur in the society? How would they create
visuals to show the community their expressions?
How would they articulate visuals for the viewers?
Work with political, social, moral, or cultural issues.
MYP Unit Question
How do we live in relation to others?
Assessment
understood?
Summative: Visual Arts Project

Summative assessment
Criterion A- Knowledge and Understanding
How do we live in relation to others? (To answer this inquiry, students can take help of the questions set below)
Task 1 - What is social commentary?
Task 2 - Discuss the thematic expression of Robert Rauschenberg (American), Jasper Johns (American),
Willem Boschoff (South African), Banksy (unknown), Blublu (Buenos Aires), Mulenga Chafilwa (Local-
Zambian)?
Task 3 - What kind of materials do the above artists use to create their expressions
Task 4 - Mulenga Chafilwa - make an appointment and have an interview with him asking how he relates to the
society and articulates visuals onto his canvas. Discuss his palette and it compliments the style of his
art.
Task 5 - How do you relate to different issues in the society and how does it affect you?
Criterion B- Application
Task 6 - Assessment on the final artwork created- collage created through mixed media, material that has to be
included- image transfers, text, printing, found objects and paint. Explain how paint is technically
worked with to create movement and emotion - (looking at drip, splattering and spraying of paint)
Task 7 - Should express meaning and purpose
Criterion C - Reflection
Task 8 - Is your work aesthetically strong - does it express meaning and function- reflect using elements and
principles of art
Task 9 - Record 4 viewers’ reactions to your artwork and explain if you managed to visually express a
social/political/ historical/ cultural comment?
Task 10 - If you had to make changes - what would they be?
Criterion D- Personal Engagement

All the above should be worked on in the Development Workbook.
Every technical experiment to be recorded
The DW should have minimum of four approaches to the visual composition using the material provided and all
that they collected
Criterion A - Knowledge and Understanding

Criterion B - Application
Criterion C - Reflection
Criterion D - Personal Engagement
Comment [AISL1]: Are these not
criteria rather than MYP objectives,
Vandita?
MYP: Arts (For use from Jan. /Sept. 2009), MYP Year 5, Assessment Criteria
Criterion A: Knowledge and understanding Students should be able to:
Demonstrate knowledge and understanding of the art form studied in relation to societal, cultural, historical and
personal contexts
Communicate a critical understanding of the art form studied in the context of their own artwork.
Criterion B: Application Students should be able to:
Develop an idea, a theme or a personal interpretation to a point of realization, expressing and communicating
their artistic intentions
Apply skills, techniques and processes to create, perform and/or present art.
Criterion C: Reflection and evaluation Students should be able to:
Use feedback to inform their own artistic development and processes.
Criterion D: Personal engagement Students should be able to:
Show commitment in using their own artistic processes
Demonstrate curiosity, self‑ motivation, initiative and a willingness to take informed risks
Be receptive to art practices and artworks from various cultures, including their own.
Stage 2: Backward planning: from the assessment to the learning activities through
inquiry
Content
What knowledge and/or skills (from my course overview) are going to be used to enable the student
to respond to the unit question?
The students will be asked to read local news papers - Times of Zambia, Daily Mail and Post
Students will be shown slides and given book to read on the artists and their works critical overview. Through
this they should be able to recognize and understand how artists have visually expressed social commentary
Learn how 2-dimensional surface has be articulated through the use of conventional and unconventional art
practices
Understand the creative process of collage assembly.
Compare works of art from different time periods (Pop art, Graffiti, local art scene) through critical and formal
aspect.
Organization and study skills

Communication Skills
Collaboration Skills
Reflection Skills
Problem solving and thinking skills
Working habits - (Organization, Time management, Motivation and engagement)

Organize all tasks in DW
Follow creative cycle with time limits
Take risks and be an inquirer

How will students know what is expected of How will we use formative assessment to give
them? Will they see examples, rubrics, templates, students feedback during the unit?
etc.? What different teaching methodologies will we
How will students acquire the knowledge and employ?
practise the skills required? How will they practise How are we differentiating teaching and learning
applying these? for all? Have we considered those learning in a
Do the students have enough prior knowledge? language other than their mother tongue? Have
we considered those with special educational
needs?
1. Understanding the Unit question How will we use formative assessment to give
Students are shown the movie, Blublu, to begin the students feedback during the unit?
session
1. Hand-outs
a) Question and answer session to see what they
understand from it. 2. Prior Knowledge exploration
b) Explain who the artist is and what he worked with 3. Critically analysis artworks during slide projections
(helps in differentiation)
c) Note their reaction (fun moment)
4. Note taking
Students shown slides of Robert Rauschenberg and
Jasper Johns 5. Peer feedback
Students read the daily local newspaper and collect 6. Practical demonstrations in class
articles- explaining what affects them
7. Use of the library and internet
Watch programs that relates and reports global issues
8. Individual consultation
9. Developmental Workbook
2. “Developmental process” handouts
How will I differentiate the learning experiences
The students are given handouts in class that they for varied abilities and students with special
have to follow. These handouts are divided into two learning needs?
sections:
Differentiation is an important part of our school, but I
Stage 1- Planning process still find it difficult to work with this concept- specially
when assessing the students. Fortunately most of the
This stage mainly comprises of research, students in the class do understand English which
experiments, and exploring ideas. All these are makes it easier for me to communicate with the class.
supposed to be part of the developmental workbook To differentiate the learning experiences-
Formative assessment -Give individual consideration to the students (spread

the process between two class periods)
Knowledge and Understanding
-During slide projections- use simple language to
a) What do you understand by the words - “social discuss and explain creative processes and analysis
commentary”?
b) Explain how art has adapted the concept of -During instructions, ask questions to check if they
expressing historical/ social/ cultural aspects? have understood
c) Refer to the works of Pop and graffiti artists to
explain? -Encourage peers/ other subject teachers to help-
d) Read the local news papers and watch international especially when the students are working during the
news – think about issues that affect you as an planning process and reading newspapers/ following
individual- make notes in the DW the news on television, attending global issues
e) Photocopy articles and paste them into the DW classes and working in the library with magazines
(these will help during the creative cycle)
f) Records the interview with Mulenga Chafilwa - in Modified tasks and extra time
the DW describe his work.
What classroom management issues do I need to
Application consider?
a) How best can we transfer discussions, written -Make sure all windows are open- for good circulation
material and personal outbursts/ emotions into visual of air as students will be using different adhesives and
language? paints
b) Identify the skills and techniques to assemble a
collage. Recognize issues/ commentary, collected -Invigilate and work with them during the use of power
articles/pictures, drawings, and translating them into tools and hammer
meaningful compositions through overlapping,
merging, juxtaposing, tearing, printing, re- -Use mouth masks and safety goggles
combinations of images and materials and painting
over -Keep bandages handy
c) Collect articles, interviews and 2-dimensional
objects (for safe keeping- place them in a box) -Create a work space outside the classroom if they
d) Make plans in the DW of the artwork- (2- plan to work with spray paint
dimensional) · What opportunities do I have to integrate
e) Write about the media being used for parts of the information and communication technologies into
artwork the classroom?
f) How many different techniques do you plan to
incorporate in one artwork -Internet to look for current news from around-
g) Record feedback from peers and teacher disciplined inquiry
h) Present the final plan
-Daily newspapers – Times of Zambia, Post and Daily
Reflection Mail
As the changes are being made- record them in the -The students have one period in a week for global
DW- use subject specific terms to analyze the issues – they have to record in DW- conversations
planning process that affect them
a. How well does your plan visually express -Students will be shown slide projects of artworks and
the concept? interviews with artists- Robert Rauschenberg, Jasper
b. Explain the use balance/proportion/tonal Johns, and video by Blublu (MOTO by Blublu-
value/ different perspectives www.blublu.org)
c. What feedback worked to enhance the
concept? -Magazines from the library and classroom collection
d. Using formal language to explain changes
you would like to make? · What strategies will I use for learners who
are working in a language other than their mother
Go back to application, make the changes and move tongue?
to the creative process on the canvas provided.
Record any changes made during the process -For these students I will use the peers to translate
and collaborate on aspects of the work. They are
Stage 2- Creative process given individual attention.
This stage takes them onto their final artwork and they
use the DW to record and reflect on all the changes
and feedback.
3- Experiments and explorations

-The students are going to be looking at magnified
images of Robert Rauschenberg and Jasper
John's artworks to understand the how the used
different media on one surface to articulate meaning.
-Using their prior knowledge on print making, they

shall experiment with photo transfers and printing on
newspaper cuttings and magazine images
-We shall take a large sheet of paper and explore how

drip paint is controlled and identify what kind of drip
display they want for their final piece.
-Bring all the collected images, written text, drawings,

collected objects and work with them to create a
meaningful composition keeping in mind that each
part of this collage should relate to the next.
These experiments in class would help them

visually articulate their theme.
4- Final reflection
Record 4 viewers’ reactions to your artwork and
explain if you managed to visually express a
social/political/ historical/ cultural comment?
All observations and discussions in the DW

Rubrics
Criteria A: Knowledge and Understanding
Level of Descriptor
Achievement
0 The student does not reach a standard described by any of the descriptors below.
1-2 The student acquired limited knowledge of the various developments and
influences in art across time and culture.
The student shows basic understanding of the various styles, developments and
3-4 ideas that have shaped the arts across time and cultures. He/ she has tried to
explain how global events influence the creative process and been able to
recognize the formal language of the styles in which Robert Rauschenberg, Jasper
Johns and Mulenga Chafilwa work.
The student applies minimum appropriate terminology to aesthetic and critical
awareness.
The student shows a broad understanding and knowledge of the art form studied in
5-6 relation to societal, cultural, historical and personal contexts
He/ she is able to understand various styles, developments and ideas that have
shaped the arts across time and cultures. He/ she has managed to explain how
global events influence the creative process and been able to recognize the formal
language of the styles in which Robert Rauschenberg, Jasper Johns and Mulenga
Chafilwa work.
The student makes an effort to apply appropriate terminology to aesthetic and
critical awareness.
The student demonstrates knowledge and understanding of the art form studied in
7-8 relation to societal, cultural, historical and personal contexts
He /she is able to communicate a critical understanding of the art form studied in
context of their artwork created.
The student shows a thorough understanding of the various styles, developments
and ideas that have shaped the arts across time and cultures. He/ she has clearly
explained how global events influence the creative process and been able to
recognize the formal language of the styles in which Robert Rauschenberg, Jasper
Johns and Mulenga Chafilwa work.
The student confidently applies appropriate terminology to aesthetic and critical
awareness.
Criteria B: Application
Level of Descriptor
Achievement
0 The student does not reach the standard described by any of the descriptors
below.
1-2 The student demonstrates limited abilities to use skills and strategies. The work is
poorly executed.
3-4 The student demonstrates some success with the basic techniques and strategies
for the creation of the artwork. He/ she has been able to identify very few elements
that would relate to visually expressing a visual comment. The artwork created
shows some competence in technique and media.
5-6 The student demonstrates success in applying basic skills and strategies for the
creation of the artwork. He/ she has been able to identify some elements that
would express a social comment. By applying some strategies from Robert
Rauschenberg and Jasper Johns style of expression, the student has been able to
create a basic.
7-8 The student shows competence in applying a range of techniques and strategies
for the creation of the artwork. He/ she has been able to identify elements that
would visually express a social comment. By applying the various influences from
Robert Rauschenberg and Jasper Johns style of expression, the student has been
able to create an artwork that is aesthetically good.
9-10 The student has successfully been able to develop an idea, a theme or a personal
interpretation to a point of realization, expressing and communicating their artistic
intentions
The student is highly competent in choosing and applying a range of techniques
and strategies for the creation of the artwork. He/ she has been able to identify
elements that would relate the painting to a social comment. By successfully using
the various influences from Robert Rauschenberg and Jasper Johns style of
expression, the student has been able to create an artwork that is aesthetically
very strong.
Criteria C: Reflection and Evaluation
Level of Descriptor
Achievement
0 The student does not reach any of the descriptors below.
1-2 The student’s use of feedback and reflections upon the process and final work
created is minimal.
3-4 The student finds it difficult to take feedback into consideration when working. The
student has been able to reflect and evaluate on the final piece with the use of
some of the elements and principles of art. Some of the aspects of the reflection
seem incomplete.
5-6 The student reflects on the visual expression created and takes feedback into
consideration when working. The Elements and Principles of art have been
referred to while reflecting during the process and on the final piece. The student
has been able to identify some areas of improvement and explained.
7-8 The student gives a considered response to the feedback and provides a thorough
reflection of the development of the artwork and has been successful in creating a
visual that communicates a social comment. Various Elements and Principles of art
have been referred to while reflecting during the process and on the final piece.
The student has been able to identify the areas of improvement and explained in
detail.
Criteria D: Personal Engagement
Level of Descriptor
Achievement
0 The student does not reach any of the descriptors below.
1-2 The student shows little interest and personal engagement in the work.
3-4 The student participates in activity associated with the tasks and shows some self-
discipline and motivation in the work.
5-6 The student is fully engaged in the work, and shows a willingness to develop
further. He/ she was able to
• Show sensitivity to global events and issues
• Show some self-motivation in setting and meeting deadlines
7-8 The student demonstrates a high level of interest and personal engagement in the
work. He/ she was able to
• Show sensitivity to global events and issues
• Show self-motivation in setting and meeting deadlines
• Show initiative, creativity and willingness to take risks
Resources
How will our classroom environment, local environment and/or the community be used to facilitate
students’ experiences during the unit?
1) Robert Rauschenberg www.pbs.org/wnet/americanmasters/episodes/robert-rauschenberg/about-the-
artist/49/
Article on his exhibition -EN/ENS-rauschenberg-EN.htm
www.centrepompidou.fr/education/resources/ENS-Rauschenberg
Book A retrospective by Susan Davison
Utilize library collection on Art History, Pop art and Collage artists
2) Jasper Johns Utilize library collection on Art History and Pop artists
3) Collage www.collageart.org
4) Social commentary Global Issues class period

Times of Zambia
Daily Mail
Post Newspaper
Informative magazines
DStv- BBC, CNN, Skynews, Discovery channel, History Channel
Listen to conversations and take notes of those that the student feels affected by.
In keeping an ongoing record, consider the following questions:

Teacher reflection
-The students found it quite absorbing to watch the u-tube video MOTO by BluBlu. In the beginning
they were not very happy with it and found it disgusting- but after talking about his representation
they asked if they could watch the video again and it was a silent hall. Following the video, many
students went through the collection of magazines in class and others went directly to search articles
on the web.
-Among 14 students – 12 of them have set their theme of the artwork and began collecting articles
and objects they felt related to their theme.
-After this stage most of the students were not sure weather they should work with such intense
themes and were worried about their presentation as it would be going against the norm of creating
something NICE. They felt the expressions being worked were quite dark and carried messages that,
we, in the community do not want to see or talk about.
My biggest challenge was to make the students accept that ugly can be good, bad can be
aesthetically strong.
I have included slides of Goya’s work for students to understand the romantic period and how artists
stepped out of the norm to accept the worst.
Still in process…
Teacher reflection
-How could Jasper Johns work on the flag?
-When can we say that something said or expressed is a social comment and not an insult? How can
we differentiate them? This question was quite interesting and many in class are working on finding
the answer to this.
-How do we merge various articles?

-Could we create a relief rather than just a painting?
-Can we work on glossy magazine articles on canvas or should we take photocopies?
-During class we reflect, but as we do not have much time, it is always at the end of the unit that we
go back as a department and talk about the unit.
Were there any attributes of the learner profile that were encouraged through this unit? Were there
any opportunities for action?
Yes the attributes were applied. The inquiries that arose caused the students to investigate and
inquire about social commentary.
The students felt important and wanted to be part of saying something through their art to the
community.
How successful was the collaboration with other teachers within my subject group and from other
subject groups?
What interdisciplinary understandings were or could be forged through collaboration with other
subjects?
Assessment
The students are taking the opportunity to show their style of expression and in process learning
different techniques
Did the assessment tasks allow students to demonstrate the learning objectives identified for this unit?
Did I make sure students were invited to achieve at all levels of the criteria descriptors?
Still in process

Yes
Data collection
Most of my research was done in our school library and it was during the process of looking for books
that one of the 12th grade student brought the BluBlu video to watch and that was perfect. The
students got the opportunity to see how over the ages- visual arts has been a media to express social
commentary
MYP unit planner
Unit title Conflict
Teacher(s) Weegels
Subject and grade level Visual arts grade level 5
Time frame and duration Two lessons of 75 minutes per week over a time span of 9 weeks
Stage 1: Integrate significant concept, area of interaction and unit question

Human ingenuity: Explore and activate one’s own Everyone is facing conflicts on different levels.
creativity and the creativity of others. Where does Conflicts can have both a negative and a positive
art come from? What would the world be like without impact on people. We can decide to perceive
art? How can art initiate change? Can art be conflicts in a positive manner and use it as a force
unethical? How is art developing in my time and for creation instead destruction. Everyone is able to
culture? How important a role do the arts play in create and communicate personal views through
human communication? artwork. Everyone can take action.
MYP unit question
How do artists give depth of meaning to “conflict”?

In what way do artists comment and interpret the world that
they live in?
Assessment
Evidence of learning can be seen in: The developmental workbook, annotated drawing, ongoing and final reflection on usage of
visual means, design elements and the visual quality of the end result produced indicating areas for improvement. The creation
of one or more artworks that demonstrate a personal response to this unit question. The writing of two small essays in which
the unit question will be addressed.
Knowledge and understanding: Of the art form studied in relation to societal, cultural, historical and personal contexts. Of the
elements of the art form studied, including specialized language, concepts and processes. Communicate a critical
understanding of the art form studied in relation to their own artwork.
Application: Develop an idea, theme or personal interpretation to a point of realization, expressing and communicating their
artistic intentions. Apply skills, techniques and processes to create and/or present art.
Reflection and evaluation: Reflect critically on their own artistic development and processes at different stages of their work.
Evaluate their work. Use feedback to inform their own artistic development and processes.
Personal engagement: Show commitment in using their own artistic processes. Demonstrate curiosity, self-motivation, initiative
and a willingness to take informed risks. Support, encourage and work with their peers in a positive way.
All four-assessment criteria as listed under the objectives will be used. A: Knowledge and understanding. B: Application.
C: Reflection and evaluation. D: Personal engagement.
Stage 2: Backward planning: from the assessment to the learning activities through inquiry
Content
question?
The student should be able to: Analyze art works to understand how they themselves but also artists deal with their visual
means. Place artworks in a bigger societal, cultural, historical and/or personal context. Use visual brainstorming strategies as to
arrive at possible solutions to a given problem. Use the developmental workbook as a tool to monitor his/her own learning.
Annotate in their workbook skills needed to experiment, manipulate and explore various media, to arrive an informed choice of
medium for the artwork in progression.
What does it mean to be artistic? How do I reflect on my own work? How do we evaluate art? How do I respond to a given
problem and how do I arrive at an individual and meaningful solutions to a given problem? What does it mean to have
ingenuity? What does learning in the arts mean? How does learning through the arts help me with learning in other subjects?

we know?
They will see examples, rubrics and get a lot of Students will receive an intermediate appraisal on their progression
information via handouts and teacher presentations. via the workbook. One of the two essays needs to be finished in
week 4. Feedback provided for this essay will help them to improve
the second essay. They will get individual feedback on their
progression throughout the creative process from the teacher and
may be from their peers.
Resources
the unit?
Classroom library, school library, internet and possible local galleries and/or museums.
In keeping an ongoing record, consider the following questions. There are further stimulus questions at the end of the
“Planning for teaching and learning” section of MYP: From principles into practice.
action?
Assessment
Data collection
Students and teachers: It is compelling to create something, which cannot be visualized beforehand. The artwork develops “on
the road”, as many different students we have in the classroom as many different solutions we get to this theme that allows for
individual interpretation. Start thinking ”outside the box” and start reviewing how you perceive art.
Many aspects of the learner profile are addressed but being an inquirer daring to take risks whilst keeping an eye on
communication that is what this is about.
Possible connections: Interdisciplinary, potential connections with English (essay writing, literature conflict as a source of
inspiration) and history how conflicts change the way people/nations deals and communicate with teach other.
Assessment: Students receive task specific clarifications for both assessment criterion A an B. These criteria are rewritten in
such a way that it is clear to the students what is expected of them.
Data collection: Apart from following up on teacher instructions there is a lot of room for personal initiative to seek for what it is
you want to convey through your final artwork.
Figure 12
MYP unit planner
MYP unit planner
Unit title Who am I?
Teacher(s) Catherine Schwerha
Subject and grade level Visual Art-8th
Time frame and duration 10 classes

question

Human Ingenuity Who we are is determined by our past but

also by our future.
MYP unit question
Who am I?
Assessment
Students will be creating a poem about themselves. The students will be given a worksheet with questions
to be answered by their poem. Student understanding will be shown by their answering of the questions
and creating their poem. Then, students will be creating a collage in the style of Romare Bearden based on
their poem.
The MYP objectives that will be addressed during this unit are-
-demonstrate knowledge and understanding of the theoretical basis of the art forms studied
-reflect upon and evaluate their work in order to set goals for future development
-show self-motivation in setting and meeting deadlines
-show initiative, creativity and a willingness to take risks
Criteria B will be used.

Content
question?
The knowledge and/or skills that will be used are planning, experiment, using art as a form of
expression, and applying skills to the art form studied to elaborate an idea or theme.
Fine Art Goals
STATE GOAL 25: Know the language of the arts.

STATE GOAL 26: Through creating and performing, understand how works of art are
produced.
STATE GOAL 27: Understand the role of the arts in civilizations, past and present.
The WIDA standards for ELL students that will be addressed are Standard 1: Social and
Instructional language, and Standard 2: The language of Language Arts,
Students will be using creativity in creating their poem and their collage. Students will be evaluating
themselves. Students will be reflecting on their finished work. Students will be taking notes on a video
about Romare Bearden in their developmental notebook. Students will be developing thinking skills through
their use of creativity in designing their art collages and poem.

we know? educational needs?
Students will be receiving an assignment sheet, Students will be given assessment through rubrics that
rubrics, and examples of both the poem and the they will be referring to, peer critiques, and
collage. teacher/student conferences.
Students will acquire the knowledge and Different teaching methods that will be used are small
practice the skills by watching a video on group, modelling, lecture. and discussion groups.
Romare Bearden, doing revisions of their poem,
ELL learners will be partnered up and given extra time.
and creating a practice sketch plan for their
Sp. Ed. Students will have their work modified by
collage.
shortening the assignment and having extra time.
Students have enough prior knowledge through
their writing workshop and art experiences.
Resources
the unit?
The students will be shown a video. The video is, “Romare Bearden, Visual Jazz,” David Irving, L&S
Video Inc., 1995.
The format from the poem is from a workshop on Acquiring Identities through Language and Literacy
Yo So De... I am from... Illinois TESOL/BE, Spring 2000 Leah Miller, Elsa L. Statzner , and Tenena M.
Doro, Ada, A.F. (1988).Creative reading: A relevant methodology for language minority children.
They will also be viewing art prints by the artist. Romare Bearden, “Quilting Time”. “The Block”, “The
Return of Odysseus”.
We will also looking at the book, “Harlem” by Walter Dean Myers and pictures by Christopher Myers,
Scholastic Press, 1997.
action?
Assessment
Data collection
I
The attributes of the learner profile that were encouraged through this unit were communicators, thinkers,
and risk-takers.
I tried collaborating with the writing workshop teachers but their schedule was very tight. However, the
librarian and computer teacher allowed students to come in to type during our class time and in the
morning.
I found it interesting how diverse some of our students’ backgrounds are. It is also interesting to find out
how people growing up in the same neighbourhood view it so differently. I worked one on one with the
students that needed it and got to know more about them and their family life than I had in teaching some
of them for years. One student finished early and volunteered to help a special education student finish his
project. This relationship continued on and now she comes to help him in a ceramics class in the morning.
Students reflected by answering the questions from the IB reflection sheet. Students demonstrated their
learning by creating finished poems and collages. The rubric assessments helped the students
demonstrate the learning objectives for this unit.
Finally, the technology teacher took students work and worked with them to create a video of them reciting
their poem, with images from their collage and images they chose from the internet. We plan to have a
screening of all the video projects in the spring.
Figure 12
MYP unit planner
MYP unit planner
Unit title Windows to the World Project
Teacher(s) Catherine Schwerha
Subject and grade level 7th Grade
Time frame and duration 15 class periods

question

That there is a world out there besides their

neighbourhood.
Human Ingenuity
MYP unit question
What do different parts of the world look like?
Assessment
Students will be selecting and researching a country. Then, they will create three sketches of three different
views in that country. Students will also be reading about, discussing, and creating a webbing about Marc
Chagall. Students will also be viewing prints by Chagall.
Students will show their understanding and creativity by completing their three sketches that include an
accurate depiction of another country along with that country’s flag. Then, the students will be creating a
painting based on one of their sketches. They will be turning the painting into a window, as if they were
looking out of the window in that country and that is the scene they are viewing. The students will be
learning about other cultures, and showing self-motivation by meeting deadlines. They will also be
reflecting and evaluating their work.

Students will be assessed through Criterion B: Application.

Content
question?
Students will be taught drawing and painting techniques. Students will be choosing which work
they will want to complete. Students will be evaluated on their use and respect for materials.
Students will be creating tints and shades. Students will be creating a finished, recognizable and
accurate scene from the country they chose.
Fine Art Goals 25,26, & 27 will by addressed.
Students will be using their developmental workbooks to create a webbing about Marc Chagall and his
artwork. Students will also be researching a country along with creating sketches of that country. Students
will be tapping into their creativity in coming up with their own way to create a window for their painting.
Students will peer critiquing to help each other and themselves. Students will be doing ongoing self-
evaluation with their rubrics.

we know?
Students are given an outline of the project. Students will be evaluated as the teacher conferences
They are shown examples, given a rubric, and with them about their work and progress. The students
led through discussions on Marc Chagall work. will also be told to refer to their rubric to self-assess their
Students will be given a small piece of paper to progress.
practice some of the painting techniques that
The different teaching methodologies that will be used
they are learning. These will then be used on
are lecture, modelling, group discussion, small group,
their large canvas panel. Students will be given
time to self-evaluation and also to get input from ELL learners will be given extra time and will be
their peers. partnered up with someone to assist them.
The majority of students have been in the IB Sp. Ed.-modify as needed. Ex. 1or 2 sketches, choose a
program so we are aware of their prior country for them, give them a smaller panel.
knowledge.
Resources
the unit?
Students will be looking at and discussing art prints. Students will be encouraged to use the school library,
computers, and their social studies book. Students work will be displayed in the school and at the local
library.
action?
Assessment
Data collection
Figure 12
MYP unit planner
MYP GRADE LEVEL:10 VISUAL ARTS UNIT PLAN 2009/2010
TOPIC OBJECTIVES DURATION-ACTIVITY AND MATERIALS ASSESSMENT AREAS OF INTERACTION
The students: 1- watch the PowerPoint presentation on A-KNOWLEDGE HUMAN INGENUITY
drawings dating from Cave Ages to Renaissance as well as &UNDERSTANDING How and why did the
The student should: 1-Trace back change in art take place
Dürer's works and take notes in their developmental Understand given
the origins and evolution of art during Renaissance?
workbooks. 07 / 09/ 2009- 11/09/ 2009 information ,
and establish connections HUMAN INGENUITY
2- Scrutinize the works that they see in terms of theme and
between the development of art Develop understanding of Why does art exist and
technique, brainstorm, discuss, and take notes in their how has it affected the
and manki nd. developmental workbooks. (14.09.2009 - 18.09.2009)
themes
TOPIC: future?
2-Develop awareness of the 3-Draw in their sketch books a scale of light progressing B-APPLICATION: HEALTH AND SOCIAL
THE STORY OF importance of drawings in from light to dark by using charcoal. Use knowledge, EDUCATION
DRAWINGS fundamental art education, 2-Create a scale by using ink and charcoal pencil. understanding, skills, and What is the role of art in
3-Develop knowledge of artists 4- Draw and shadow simple objects by using proportion, ideas in planning to develop the development of
who made important social life and what are
scale, and measure. and detail composition.
its effects on individuals
contributions to drawings in art 5-Combine and reflect in their work their knowledge on Demonstrate various and on society?
up until Renaissance and sketching and their knowledge on light and texture. techniques and skills. ATL
familiarize with such artists' (23.09.2009 - 09.10.2009) C-REFLECTION *Obtaining knowledge
GUIDING works 6-Transfer one of the arranged compositions onto paper from various sources
QUESTION: &EVALUATION:
4-Scrutinize Albrecht Dürer's based on their knowledge of proportion, scale, measure, and *Taking notes in
Use developmental developmental
IS THERE ANY drawings and express the composition. 7-Work with charcoal pencil by using their
PARALLELISM importance of concepts such as knowledge on light nad shadow. (12.10.2009 - 13/11/2009) workbook, express opinions, workbook *Evaluation
be enthusiastic about artistic ATL
RESOURCES AND M ATERI AL S:
BETWEEN THE proportion, scale, ligh-shade,
activities . Implementation of rules,
*ART AND PROPAGANDA by CLARK TOBY
EVEOLUTION OF movement methods and theories
ISBN/ISSN :9755394044,*ART AND SOCIAL D-PERSONAL *ATL
MANKIND AND 5-Based on this information,
LIFE:PLEHANOV, G.V. ENGAGEMENT: Self-assessment
determine the parallelism between
THAT OF drawings *THE STORY OF ART:GOMBRICH ISBN/ISSN Use given information to ATL
the development of drawings and
FROM CAVE AGES :9751405920 ,E.H.,*THE BOOK OF ART:MODERN ART complete project on time *Contribute to designing
manki nd. FROM FAUVISM TO ABSTRACT EXPRESSIONISM a rubric
THROUGH TO 6-Note down the results of their and exhaust artistic *Make individual
ISBN/ISSN :0717273563 Art notebook,Developmental
RENAISSANCE? IF research and the information that potential. comments.
Workbook, Declaration of Human Rights,
YES, HOW DID IT has been given in their Photographs,Scissors,Glue, Paint, Brushes, Colored Paper
DEVELOP? developmental workbook. and Magazines * OCC
http://www.elsanatlari.gen.tr/resimde-desen-ve-oran-
MYP GRADE LEVEL: 10 VISUAL ARTS UNIT PLAN 2009/2010
TOPIC OBJECTIVES ACTIVITIES & MATERIALS ASSESSMENT AREA OF INTERACTION
1-Develop knowledge and KNOWLEDGE - RESEARCH A-KNOWLEDGE HUMAN INGENUITY

understanding of art movements Discuss the research topics stated in the instructions How did the origination
UNDERSTANDING &UNDERSTANDING
and their origination (16.11.2009 - 20.11.2009) and development of
Develop knowledge of given various art movements
GUERNICA 2-Establish links between social PLANNING(23/11/2009 - 04/12/2009)
information and forms; and affect societies and what
phenomena, artists, and their works The student: 1-Selects theme 2-Determines symbols 3-Takes
3-Use knowledge about Pablo use them appropriately can we do to create
notes in developmental workbook 4-Finds visuals from positive change in the
Picasso's Guernica to explore various resources 5-Determines the technique s/he will use Show critical awareness future?
similar works of art and makes a list of materials appropriate for this technique 6- while scrutinizing works of COMMUNITY AND
4-Develop understanding on major Organizes his/her time to complete his/her work on time. art SERVICE
items and philosophy of Universal CREATION (14/12/2009 - 08/01/2010) Develop understanding of Develop awareness in
Declaration of Human Rights The student:1-Selects theme 2-Draws sketches 3-Thinks how artists contribute to art society about the Human
GUIDING 5-Complete a project based on about and draws symbols 4-Cuts out relevant pictures from B-APPLICATION Rights violations during
acquired understanding newspapers, magazines, and other sources 5-Takes notes in Students are expected to Peace and War and the
QUESTION: 6-Establish links with the Area of consequences of such
developmental workbook ASSESSMENT use their knowledge,
HOW DO WARS Interaction (11/01/2010 -15/01/2010)
violations, develop
understanding, skills, and sensitivity toward others'
AFFECT HUMANS' 7-Take notes in Developmental Assessment of developmental workbooks to evaluate
planning ideas to develop rights
Workbook and explain through student's understanding and interpretation of the theme.
EMOTIONAL AND examples and detail their composition. ATL
Assessment of student's ability to use his knowledge, *Individual thinking
MENTAL STATE 6-Develop understanding of and understanding, skills and planning ideas to develop and C-REFLECTION AND *Individual interpretation
AND HOW ARE interpret Expressionism, detail his/her compositions. EVALUATION *Collecting information
Abstractionism, Symbolism, and RESOURCES AND MATERIALS: Students are expected to *Thinking in depth.
THESE EFFECTS Cubism Movements 8-Create *Using the developmental
*ART AND PROPAGANDA by CLARK TOBY use developmental
EXPRESSED symbols *ART AND SOCIAL LIFE by PLEHANOV, G.V.:(ISBN 9755394044) workbook to reflect on their
workbook.
9-Understand the meaning that art *Showing commitment to
THROUGH WORKS *STORY OF ART by GOMBRICH,E.H.
work artistic activities.
contributes to life appreciate art's *THE BOOK OF ART: MODERN ART FROM FAUVISM TO
OF ART? ability to change the future ABSTRACT EXPRESSIONISM :(ISBN 0717273563) and to develop enthusiasm *Making assumptions.
4-Use painting techniques Canvas,developmental workbook, Declaration of Human for arts activities. ATL
D-PERSONAL Note taking.
appropriately and effectively. Rights, Photographs, Scissors, Glue, Paint, Brushes
Understanding the
Colored paper and magazines ENGAGEMENT: evaluations and comments
http://en.wikipedia.org/wiki/History_of_painting#Between_the Students are expected to in resources.
_Wars,tr.wikipedia.org/wiki/Guernica_(tablo),http://www.pbs.o complete their project on Making references,
rg/treasuresoftheworld/a_nav/guernica_nav/main_guerfrm.ht acknowledging resources
time by using the given
ml ATL
information and to use their
OCC Using knowledge and
artistic potential. experience appropriately
*

MYP Arts Sample Unit Plan PDF

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MYP Arts Sample Unit Plan PDF

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MYP unit planner

Unit title Art Elements: The Ingredients in All Works of Art.

Subject and grade level Visual Arts/ 6th grade

Time frame and duration 6 Weeks

Stage 1: Integrate significant concept, area of interaction and unit

Area of interaction focus Significant concept(s)

Approaches to Learning The big ideas are:

MYP unit question

Is it important that artists be trained in art

What can be learned from looking at works of

Which specific MYP objectives will be addressed during this unit?

Which MYP assessment criteria will be used?

Criterion A: Knowledge and Understanding- Utilization of terminology in written entries in student’s

Stage 2: Backward planning: from the assessment to the learning

PA Arts and Humanities State Standards

Learning experiences Teaching strategies

Teacher(s) Jennifer Dimas

Visual Arts ~ Year 2

Stage 1: Integrate significant concept, area of interaction and unit

Area of interaction focus Significant concept(s)

-Health and Social Education -Art is used to convey individual

MYP unit question

How is art used to express individual and cultural identity?

-develop an idea, a theme, or a personal interpretation to a point of realization and

-reflect critically on their artistic development and processes at different stages of

-evaluate their work.

-use feedback to inform their own artistic development and processes.

Criterion C: Reflection and Evaluation

Stage 2: Backward planning: from the assessment to the learning

Organization ~ Students will be expected to:

Communication ~Students will be expected to:

Reflection ~ Students will be expected to:

Learning experiences Teaching strategies

Lesson 1: (Teaching Strategy) Essential Agreements will

Procedures: (Teaching Strategy) Students will take apart or

• To become familiar with the

1. Students will reflect on the unit

1. Students will choose a Martin

• Hieronymus Bosch (Scholastic Art past issue on Narration: Hieronymus Bosch)

Ongoing reflections and evaluation

Teacher(s) Rosanne Boutin

Subject and grade level Grade 8 Drama – Year 3

Time frame and duration 6 Weeks

Stage 1: Integrate significant concept, area of interaction and unit

Area of interaction focus Significant concept(s)

Health and Social Education Performance and production elements

MYP unit question

How can theatre investigate and communicate social

Which specific MYP objectives will be addressed during this unit?

 develop an idea, theme or personal interpretation to a point of realization, expressing and

Which MYP assessment criteria will be used?

Stage 2: Backward planning: from the assessment to the learning

Collaboration: Students will be working in groups—including delegating and taking responsibility,

Learning experiences Teaching strategies

 the nature, function and

PT Lesson 4: Recap last lesson and outline

Physical Theatre basic principles video or powerpoint.

Ongoing reflections and evaluation

Teacher(s) Diane Leganza (Mountain Ridge Middle School, Colorado)

Subject and grade level Art Level 1

Time frame and duration 2 weeks

Stage 1: Integrate significant concept, area of interaction and unit